Bonggita: Neon Marble

a1439383980_10Before I begin this review proper I just want to impart some advice: never sleep on anything. Earlier this year I received a direct message on Twitter from my friend who runs Echosynthetic, an amazing website that also covers the synthwave scene, and he explicitly told me to check out Bonggita because he knew instantly that it was something special. I checked out Bonggita‘s first release entitled The Bonggitaria Incident, which Echosynthetic reviewed and conducted an interview as well, but unfortunately I never quite got around to reviewing it for this here website.

Therefore I feel it’s all that more important for me to be writing this review because, as I already stated at the beginning, if there is anything that I want you to take away from this it is that you don’t let things pass you by and especially not when someone recommends said thing to you. What with that all reinforced: you need to listen to this, buy it, and then listen to it again on repeat because it is without a doubt one of the best releases this year. Bar none. Let’s find out why:

“Orbital Injection” starts us off with the hum of an engine before giving way to our first taste of synth, a calm and almost euphoric sound, as we make our descent into what the album further has to offer in the form of “Nekyia.” This second song ramps the intensity up a bit, coming at you with ferocity, complete with chilling vocal work that demands you “embrace your darkness.” Perhaps not fully embraced just yet, “Lost” nonetheless further increases the tempo with some more vocal work that is hypnotic in nature, giving credence to the song’s name by almost making you feel disoriented as the sounds of the synth erratically go from one end of the spectrum to the other with great speed.

“Menace” is truly when things start to take a darker turn, although you wouldn’t know it from the beginning when a sultry sax and organ like synth work start it off but then the beat kicks in and so does the feeling of dread. A robotic voice takes over the vocal work on this song, as the backing sounds start to almost glitch out, making you feel as if the track has been hacked in the process of you listening. “She Likes the Moon” has a rather chill sound, a bit of a reprieve from all the prior madness, again with some impressive vocal work. Are you sensing a reoccurring theme here? There has always been a bit of a back and forth in the synth scene as far as vocals go, to which I will always advocate for their use, and the tracks on this album that have them are great examples of how vocals can really enhance a song by making it an all around complete auditory experience.

“She Is Awakened” is a further example of this as the song starts off slowly, and almost prophetic, with a music box like tone that eventually rises up before being followed by ceremonial chanting; an almost religious experience while listening. “Wounded Warrior” starts with some more of that creepy robotic voiced glitchiness before doubling down and going full blown glitchwave on the rest of the track, which honestly works and is amazing. “Neon Marble,” the titular track, is much like a previous song in that it’s pure instrumental and a smooth one at that as it gives you time to relax and breath; you’ll be glad that you did.

This is because “Deep Eyes” kicks things back into gear and brings the vocal work to the forefront, this time with a voice that sounds quite familiar; almost Ziggy Stardust-esque. Speaking of space, “Neo-Human Relations” brings in those epic spacewave vibes and I don’t use a term like ‘epic’ all that lightly with this track which clocks in at a little over seven minutes in length; it is an adventure all in and of itself from start to finish. However, the overall journey of the album comes to an end with the closing track of “Spirit Away,” a fitting conclusion by further showcasing even more of that vocal work which again truly highlights the overall range and production that went into making this album as a whole.

At the risk of sounding like a broken record, although they do often say the third time’s the charm, I implore you to pick this album up and give it a listen because my words and descriptions do not truly give it due or any semblance of justice. With two amazing albums already under their belt, after only debuting in January of this year, they’re a rising talent to keep an eye out for especially now that they’ve signed with RetroSynth Records! I’m glad that I finally bought in.

 

Bonggita can be found on Twitter and Facebook and their music can be found on Soundcloud and Bandcamp. You can find RetroSynth Records on Bandcamp.

DRONN: Thy Void Infernal

a0795189140_10Like with any genre in the realm of music there exists a number of subgenres under the synthwave umbrella such as darkwave, chillwave, vaporwave, spacewave (to name a few) but one that not many are aware of is dungeon synth. Although not a new concept in many ways, as it can trace it’s roots back a couple decades now, dungeon synth has none the less seen a bit of a revival in the past few years thanks in part to the rise of synthwave.

Upon first hearing examples of dungeon synth one might conclude that it is a distant cousin of darkwave, which is true in a sense, although whereas darkwave tends to be heavy and aggressive the tone of dungeon synth is all around a bit more docile in comparison yet more brooding and atmospheric in turn. This video, which I stumbled upon earlier in the year when I first discovered dungeon synth, does a better job explaining what I’m trying to say:

After all, this is not an article all about dungeon synth but rather a review for a new side project by Gregorio Franco that delves into such music under the name of DRONN. While but a short three song album, each track nonetheless hits harder than the one before by delivering such an uneasy feeling that you can’t help but look behind you as you listen. The first song, “A Light in the Eastern Tower,” helps set the mood with long drawn out notes, reverbing against the walls of your ears, rising in relative speed and sound as it plods along with a sense of overbearing dread like the sounds of a church bell during a funeral.

“Infernalis Infinium” comes in fast, like a bat out of hell, with impressive organ-like synth work that sounds like it came straight out of a Castlevania soundtrack. You’ll be picking up a whip and hunting for vampires in no time with this truly epic song blaring in the background, so watch out Vampire Step-Dad because it’s a horrible night to have a curse! “One Thousand Generations of Woe” ends the album and it’s a real battle between the backing bass, the high pitched piano, the strings and wood like instrumental sounds but they’re done so elegantly that it’s less a war for attention and more an orchestrated attack.

It pains me that this album is only three songs long but I understand that, as a side project, it is relatively new and in the grand scheme of things may not get as much attention as Gregorio Franco’s main focus going forward. Even still, I hope that he continues to give it a little bit of love here and there because I am absolutely floored and in love with what he’s produced thus far. I personally look forward to hopefully delving deeper into this dungeon sooner rather than later.

 

UPDATE: It was brought to my attention late last night, after I had finished the above review, that indeed DRONN will be releasing new material sooner rather than later! September 1st, 2017, in fact and it’s available for pre-order RIGHT NOW!

DRONN can be found on Twitter and is the side project of Gregorio Franco who can be found on Twitter and Facebook as well as on Bandcamp and Soundcloud.

Nightlights: Forever EP

a3304579228_10Releasing their first EP back in February, which we reviewed, Nightlights contributes their own brand of neon-soaked goodness to the summer of synth with their follow-up EP entitled Forever. Much like their previous release, the aforementioned Shadows EP, this album is an equally infectious collection of songs that’ll get you up and moving. It all begins right out the gate with a tantalizing intro track, “In The Beginning,” which much like the wonderful cover to the album itself gives those summer sunset vibes.

“Mist” rolls in along with the coming of the night and exhibits a little bit of a technotronic house feel, which one can’t help but conjure up images of fog machines gone wild in the club as a result. “Night Shadows” is a delightfully haunting tune, the kind of song that makes you feel as though you’re under a spell and, as you start to notice your head has been bobbing to the music the entire time, you’ll know then that Nightlights truly are pied pipers of the synth.

“The View from the Top” will do just that; making you feel like you’re on top of the world by lifting your spirits up with such an easy jam. “Heading Home” keeps that at ease feeling flowing, but also peppers in some breakdowns complete with impressive synth solos throughout. “Purple Sky (Remix)” is, as the title alludes, a remix of a song from back a few years ago when Nightlights wrote and performed under their Snowkitten project. You can listen to it below:

 

 

I decided to look up this earlier version because I enjoy comparing and contrasting the works of an artist, especially when they remix their own material. That said, you can certainly tell that at their core they are more or less the same exact song, but even still at the same time the remix is clearly different in terms of its overall production quality and design. Much of the same could be said about their decision in going from being known as Snowkitten to Nightlights, or even simply the differences that exist between the Shadows EP and this, as they have constantly improved and are getting better by release.

Perhaps this personal growth has something to do with the overall expansion of the synthwave scene as a whole between then and now, as an influx of talent will push oneself, and it has also opened doors for collaborations such as in the form of “Night Shadows (Extended Morphine Mix)” by JJ Christie. We have covered JJ Christie on the site before, with the release of his Fresh New Idea album, and with this track he helps to infuse his all too familiar sound to help create an amazing rendition as a result. Remixes work in many ways, after all.

We end the album with “Fairground Lights,” a light and fluffy song not unlike cotton candy that you would buy at said fairground, and it does indeed remind oneself of such fun nights surrounded by the lights of rides, attractions, and sweet foods. As stated before there is a natural progression to be found between their releases but if there is any one constant to be found within the material of Nightlights it is that the songs contained within are simply fun, lighthearted, and a welcome addition to any collection. So make sure you add it to yours!

 

 

Nightlights can be found on Twitter and Facebook.

Their music can be found on Bandcamp under their current name of Nightlights with their previous work under their former name of Snowkitten

Ethereal Delusions: Ascension

a3523520089_10With the #SummerofSynth starting to come to a close we begin to wrap things up with another stellar release by Ethereal Delusions in the form of Ascension. After starting the summer with the release of the single “Wingman (featuring Noah Bernstein),” and then following that up with a collaborative album with KiLoSo entitled DAY|NIGHT (which unfortunately we haven’t got around to reviewing yet due to our hiatus), it ends with another full length album that is easily Ethereal Delusions’ best work yet.

The first song, “Vice,” is a tour de force in sound design with a booming voice over that literally sets the proverbial stage. As someone who grew up on watching shows like The Twilight Zone and The Outer Limits, where a narrator spoke of controlling what you would see and hear, this track made me smile and the music that follows is equally impressive as a result. The next track, “Sunny Days,” also starts with a voice over and goes a bit more into the Ethereal Delusions mythos before transitioning into a straight up chill vibe.

I recall from an interview that Ethereal Delusions once did, as part of Locals Live on KBVR TV, that there is an underlying story which exists throughout his music and with tracks such as “Sunny Days” this continues to be fleshed out as a result. I admit that I am sucker for this kind of thing, and would like to know more about the story behind the music, but until the whole picture is revealed these little morsels are a nice taste to hold one over until the time is right.

Up next is “Wingman (featuring Noah Bernstein,” which I already talked about in great detail before, followed by “Friday Bounce (featuring Androck)” which is a hip hop infused track with some really slick rapping. “The Ethereal Delusion,” a hypnotic song with an otherworldly feel reminiscent of spacewave, is the break in the action to the four song block of tracks which feature other artists. “Night Terror (featuring DMH Musicworks)” is much more of a heavier track than those that came before, almost darksynth in its design, as it comes at you hard and with unrelenting fury in the form of an absolutely shredding guitar. “Getaway (featuring Flammen)” dials it back, coming down smooth, easy, and including impressive vocals that sound straight out of the early new wave movement.

“Unveiling” is much like “The Ethereal Delusion,” in that it gives you those spacewave vibes, but is also much more of a sinister slow jam in comparison as it’ll send a bit of a shiver up and down your spine.  That sense of dread continues twofold in “First Contact” as sirens seem to echo in the distance, a foreboding sound that heralds the coming of something not of this world. “Blood on the Waves” begins the assault proper, like boots on the ground for a shoreline assault, featuring a killer synth solo that leads the proverbial charge.

“The Resistance” fights back, pummeling the keys with precision, laying down on the sound and letting it wail a defiant cry which coalesces into “Hope.” This track is simply exquisite, featuring vocals from none other than Ethereal Delusions himself and he absolutely slays.  I can only hope that we shall hear more of his golden tones in the future, because he has the potential to rank up there with some of the best vocalists in the synthwave scene today for sure.

“Trigger Point” ends the album, coming at you loud and proud which is what can certainly be said for the album as a whole; Ethereal Delusions should be proud of this album as it loudly makes a mark not only as part of his discography but upon the synthwave scene as well. From the release of his first proper album, Shutter Shades, back in February to now he has come a long way in such a short amount of time. He has truly begun to ascend with no signs of coming back down anytime soon and I look forward to seeing where he soars off to next.

 

To delve deeper into the mind of Ethereal Delusions, we conducted an interview:

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Lightfrequency: Skyline Splitter

a2318103040_10Skyline Splitter is the debut album of Lightfrequency, the first solo effort by producer Mike Beaton into the realm of synthwave following his duo project of Big Lich with Patrick Stein. While Big Lich tends to rely less on the sounds of the synth and more on chiptune styled metal, thus creating a more heavy and aggressive tone, Lightfrequency is more or less as it’s name suggests: a lighter frequency of sound.

This is clearly evident from the start with the opening track, “Firebird,” which floats softly into your ears while conjuring up images of the titular sportscar driving along the coast. “Pink Shades” not only brings with it the sounds of the ocean just off that coast, but also a very chiptuned quality to it that almost plays like if Big Lich were to do a love ballad. There is also a particular soundcue in the middle of the track that I can’t quite place, other than to suggest that it sounds like the flippers on a pinball table. Either way, it works!

“Voltage Control” certainly cranks that light frequency up to eleven, delivering a banger that’ll get your adrenaline pumping and your body moving as it crosses itself over into the OutRun genre; I can personally attest to this after a listen while driving at night. “Check It Nice” brings the levels back down a bit, into a more mellow and sublime affair like “Firebird,” but still has that chillwave like quality to the sound as those chiptunes make a subtle return as well.

“Solo Run” is very akin to “Voltage Control,” by bringing the energy levels back up again, while “Skyline” brings those waves back from “Pink Shades” and closes out the album on another quite similar dreamlike note. All in all, while only six songs long, Skyline Splitter is an amazing showcase of Mike Beaton’s range of talents. Under Lightfrequency he is certainly more than capable of not only producing those fast paced songs, but also those of the slower variety, and with Big Lich he has also proved that he knows how to get real heavy too.

 

To further delve into his creative process, we conducted an interview with him:

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Nokogiri Nami Society presents “The Night Call: Vol. 1” in aid of Yorkshire Cancer Research!

Twitter friendly comp bannerIn a recent news post, where I announced the return of this blog from it’s month long hiatus, I mentioned a certain person by name who helped to design our new banner: Bernadas, one half of the UK based radio show The Night Call along with his friend James. Well, today I am extremely proud to announce that the two of them have started something special in the form of a new synthwave label entitled the Nokogiri Nami Society. Their first act is to put together a compilation of some top talent in the synthwave scene and donate 100% of the proceeds to Yorkshire Cancer Research (516898), which you can learn more about here: http://yorkshirecancerresearch.org.uk/strategy-and-objectives/

As for the Nokogiri Nami Society, they explain their own genesis as follows:

The Night Call started out in late 2015 on University Radio York as a two student foray into radio, begun out of a passion for the sounds of Drive, Hotline Miami and other pop-culture breakthroughs for the retrowave sound.

18222125_663210083884774_4050331025974339631_nTwo years later, after a deep dive into the fringes of the scene by bolstering relationships with huge and upcoming artists alike, including a successful campaign of interviews with the likes of Perturbator, The Midnight, VHS Glitch and more, The Night Call received the Gold Award for Best Specialist Music Show on University Radio York. The hosts, James and Bernardas (as well as a team of close friends), now present their most recent endeavor: the newly established label Nokogiri Nami Society and the first release under it’s belt entitled The Night Call: Vol. 1.

The Night Call: Vol. 1 is a compilation celebrating the recently passed anniversary of URY 101 which was a massive 101 hour open charity broadcast that the The Night Call was involved with proudly. One year after this inspirational event, The Night Call got in touch with sixteen artists to contribute tracks that received much love and airtime on URY and to once more raise funds for Yorkshire Cancer Research (516898).

Artwork SquareThose sixteen artists? An impressive list, for sure, with some even featuring new material that you’re not going to hear anywhere else for some time! These have been denoted with an asterix and information on such exclusivity to follow underneath in parentheses. Before we get to them, check out that rad art for the compilation over on the left. It was designed by Helen Bee and you can check out more of their work at helenbee.com!

Now, on to the lineup:

  1. The MidnightDays of Thunder
  2. Robert ParkerPromise
  3. Robots With RaygunsExcess
  4. Fatal FrictionKeep On Moving Up
  5. Absolute ValentinePolice Heartbreaker
  6. *The EncounterWOLF FANG (Rohga Armor Force) [Ft. Dimi Kaye]*
    • (Not available for purchase anywhere else. Track off upcoming EP with release date TBA.)
  7. NeoslaveWelcome… To Blood Arcade
  8. HexenkraftA Flame in the Void
  9. neon shudderThe Faceless
  10. *Highway SuperstarPrism Break*
    • (Not available for purchase anywhere else. Originally released on Soundcloud and New Retro Wave.)
  11. Brat’yaRadio
  12. *Vampire Step-DadSteady Pace*
    • (Exclusive preview of upcoming material. Won’t be out elsewhere for a while.)
  13. Ethereal DelusionsAlone In Space
  14. *Aegis VisitorHorizon Eyes*
    • (Preview of upcoming material. Originally was available as part of the Swedish Columbia Groupees Bundle. Now available once more on this compilation.)
  15. Slow ShiverSet in Stone
  16. IVERSEN – M E T L I N E B L U E S

But, wait, there’s more! Every donation of the compilation will enter you into a raffle to win one of three artwork prints signed by Absolute Valentine and Highway Superstar! Winners will be announced at the end of the fundraiser and prizes will ship worldwide. Now is probably a good of time as any to mention that this is a timed fundraiser. That’s right, starting today the fundraiser is officially on for only one month where it shall then conclude on September 16th.

Therefore, be sure to make your way over to the official Bandcamp page for Nokogiri Nami Society’s The Night Call: Vol. 1 and help them raise money for Yorkshore Cancer Research (516898) sooner rather than later to help a great cause and get some good tunes too: https://nokogirinami.bandcamp.com/

The Nokogiri Nami Society can be found on Facebook and Twitter

The Night Call can be found on Facebook and heard on University Radio York.

Yorkshire Cancer Research (516898) can be found at http://yorkshirecancerresearch.org.uk

Kill All Music releases the “Best of” Freeweights on Cassette!

KAM016_Front_01aFreeweights is a band that hasn’t been mentioned on this site before, which is a crime as their one of the most underrated synthpop acts out their right now, so what better way to get acquainted with them than through a “best of” album? I use quotes around “best of” because the ten tracks on this album are all the tracks that they’ve released thus far so, you might be therefore asking yourself, “how can this be a best of album if it contains all of their songs?” Simply put: all of their songs are the best. Period.

Let’s run them down, one by one, starting with “Your Design” which explodes right out the gate with slick sounds, catchy hooks, and exceptional energy which you’ll quickly notice come naturally for a band as talented as Freeweights. “Rust On My Heart” is a beautiful love ballad, a bit somber in tone, but one that’ll certainly shake any rust off your own heart and get it pumping in turn.

“Losing Sleep” is another quality slow jam and a great showcase of range in the form of the vocals, like a rollercoaster, with silky smooth whispers rising up and down alongside passionate crescendos. “Everyone Wants My Name” is a high energy track, starting with all cylinders already running and, just when you think it might start to slow down, it shifts gears and keeps the motor running into overdrive. “True To My Game” is a real toe tapper, a head bopper, the kind that’ll have you drumming along on your steering wheel as you’re cruising.

Now, while any of these songs could have easily appeared on the soundtrack to a movie made in the 1980’s, perhaps “Close Call” is the most likely contender. With one of the catchiest hooks of the lot, a screaming guitar solo, and over the top synth work it is a banger for sure. “Infinite Repeats” features some heavy bass work, keeping the beat going as the synths catch up, while the vocals continue to shine throughout for another sensational slow jam that you’ll want on repeat!

If there is any song that you may know Freeweights by before this review it might be “Living in a Studio,” which is at least the first song I heard from them, and perhaps it would therefore be leap of faith on my part to state it as the “single” from this album. Either way, this track absolutely slays from beginning to end by infusing their own style with a sense of disco by way of the new wave.

“Nothing to Burn” keeps the cross-genre love train coming, with some R&B sensibilities, and an incredible sexy sax solo that’ll make you wish it would have stuck around a bit longer as it helps to fade out the song. However, we’re not done here, as “Lightweight” ends the album proper. Similiar to “Close Call,” in that it has that overall epic feeling of being ripe for soundtrack consideration but, whereas the former was more for open credits, the latter is certainly for end credits as our heroes drive off into the night. Will we see a sequel? I hope so!

KAM016_TapeA_01aI can’t state this enough: Freeweights are criminally underrated and therefore I can only hope that, by joining forces with Kill All Music, they’re able to properly take the retrowave scene by storm and ascend the throne to become one of the best around.

Their album is being released on two differently colored cassette tapes to choose from and all for the low, low price of only $6.49 (plus shipping and handling); at that price point you can certainly afford to pick up both variants! I know I shall, so don’t delay and order today! Yes, that’s right, these bad boys are up for pre-order right now with an official street date set for August 25th! Still not convinced? Scope out the video below!

Hailing from Helsinki, Finland, the synthpop band known as Freeweights can be found through their personal website at FreeweightsBand.com as well as Facebook, Twitter, and Instagram. Their music can be found on Soundcloud, Spotify, and YouTube

Based out of Los Angeles, California, Kill All Music is a majestic beast of an independent music anti-label that you should follow over on Facebook and Twitter before buying something at KillxAllxMusic.com

 

Computronic: Even the Score

a2706645173_10Recently, over on their blog, Bandcamp wrote up an article about how artists have been utilizing synths to create soundtracks for imaginary movies. I have not only seen this stated in a number of interviews that I have read, but personal discussions I have had with a few producers collaborate this as well, for many of those within the synthwave community were indeed inspired by the synth-ladened soundtracks of yesteryear.

Therefore, it should really come as no surprise that this is a phenomenon within the scene. However, this is not to say that every approach to this idea is the same as some provide little detail while others go into great detail about the story, or film, that the music is trying to accompany. If anything, these “faux-soundtracks” are akin to concept albums and therefore, while not only relying on the theater of the mind, they also rely heavily on the information that is provided either before, during, or after listening like a sort of radio play.

In the case of Even the Score, by Computronic, the soundtrack is complimented by voice overs from track-to-track which help to tell a story which is quintessentially 1980’s in design and structure: Rick Donald is an avid gamer who works at a local arcade which is owned and operated by Lou Armstrong. After being shamefully defeated by a rival gamer by the name of Tommy Skors at said arcade, while on a date with his girlfriend Sam, Rick receives news that Mr. Armstrong is retiring and looking to sell the arcade. Therefore, to save the arcade and his pride, Rick enters the Megacade contest only to once again come face to face with Tommy Skors in the final round. I won’t give away the ending, as I implore you to listen to the soundtrack yourself, but I will say that the journey is quite a ride from start to finish which is really how you should listen!

“Even the Score (featuring Becca Starr Bird)” is akin to the opening credit song of the movie, with the title of the film and the song being one in the same, and I could totally have seen this being a hot summer single to go along with the flick; which I guess it is in a way? Either way, “Ready Runner One” follows it up and is perfect montage music to go along with taking a run, because what would a 1980’s inspired movie be without a montage? Speaking of things that such a movie could not be without is a love song, and “Love is Innocent (featuring Vicky Harrison)” is one such song that is beautifully done. “Step Aside” is when things get interesting, and could be considered a battle song in many respects, with laser sounds that’ll be sure to get your adrenaline up. Also, there are a couple of guitar solos in the song by Powernerd Paddy that simply scream!

“Running the Storm (featuring Vandal Moon)” is that kind of song which tends to play when the hero of the story is at their lowest, wandering around aimlessly and wondering where it all went wrong, and the song itself is simply marvelous in capturing that raw emotion of helplessness before transitioning into pure hope. “Facelift” brings that hope to the forefront, and another bit of montage music, with the kind that involves a group coming together to fix up a place and return it to it’s former glory. “Wishing (featuring Historiaster),” which has amazing vocals, also features guitar work by Vampire Step-Dad (he also plays Mike, Rick’s friend!) and is another inspirational love song that pulls at the heart.

“Megacade” is what I consider to be part one of the climax to the film, setting the stage and the stakes, before going all-in on the ultimate showdown. “All or Nothing” is the second half of that climax and it is one hell of a race, literally and figuratively, as throughout the song the Megacade Announcer calls the action with such an intensely frantic tone that you can’t help but become instantly invested in the outcome. Also, the sheer number of references crammed into his dialogue just made me laugh and smile. The music itself is equally intense as the tempo rises with every beat and audience reaction; your pulse will be rising.

“Level Up” serves as the end credits song, although not before giving us the results of the competition, but again I won’t spoil the ending. What I will tell you is that, much like a lot of faux-soundtracks, I wish this was a real movie. While the theater of the mind is a wonderful thing, and every listener will envision things differently not unlike reading a book, I would still clamor for an actual movie to go along with this music. I stated before that it follows a common formula of 1980’s films, but this is not to say it isn’t unique; I believe it to be an all around genuine product that gives you a real good feeling in turn. You can tell that a lot of time, attention and love when into this and it’s those qualities which help to make anything special of which this album most certainly qualifies.

 

Computronic can be found on Twitter and Facebook

Even the Score is available on Bandcamp by way of TimeSlave Recordings.

The Heavy Haul: June – July, 2017

As I mentioned in a prior news post, while Watermelon Banzai is indeed my main focus, I am also proud to be apart of Heavy Blog is Heavy where I write the occasional review and article about synthwave. I decided that, in order to further highlight the work that I do over there, every month I would post links to said writings over here. In order to spice things up a bit, so it’s not just a “link dump,” I will also be providing some additional insight and commentary!

So, without further ado:

Heavy Blog’s Top 25 Albums of 2017 (So Far) [June 30th, 2017]

I’ll be completely honest: I don’t like lists. I find that, all too often, it leads to people either feeling left out or disagreeing on the order of said list even when there isn’t supposed to be any sort of hierarchy involved. Regardless, I was tasked with writing about the self titled debut album of ZETA and if you were unaware of them before now, much like I was before I started writing about them, then you need to correct that as soon as possible. I won’t say anymore, as I encourage you to hit that link above and read what I wrote, other than you should totally read the other items on this list too! If lists do anything, I suppose, it’s to at least make you aware of things you never knew about before.

Sekond Prime: Arrival EP [July 12, 2017]

While but a short four song EP, although there are currently offerings of a couple singles on their Bandcamp as well, each track on here brilliantly shines like a star which altogether make up the constellation known only as Sekond Prime. While I have used the term “spacewave” before, specifically in my review of Primorph as a term of endearment for synthwave that gives one the feeling of being in space, Sekond Prime has completely embraced the subgenre to which I am more than happy to stamp my approval. That all said, be sure to hit that link above and cruise through cyberspace to read my proper review.