library music / progressive electronic
While there’s some issues with consistency and a few too many reprises, this library oddity is definitely worth hearing if you’re interested in eighties analog synth music. I’ve wondered if this was one of the Bruton albums to influence Oneohtrix Point Never as it’s one of their closest in style (OPN referenced their cover art with Drawn And Quartered). Like his early albums, the synths of Kinetics/Vision are cold and warm all at once, forming lots of foggy/metallic arpeggios and a feeling of futuristic isolation.
Side 1 (Kinetics) begins on a cheerful note, with busy and scientific rhythms recalling a tech facility. The first six or seven tracks largely repeat the same melodies, all variations on the same tune. It gets redundant after a certain point, but later highlights like “Kinetic Strength” and “Kinetic Research” add welcome twists to this theme via thrilling slow-burn suspense and a complete mood shift before Bastow’s side ends. Here I picture a protagonist investigating the same facility late at night as they unveil it’s dark secrets.
The renowned Alan Hawkshaw’s B-side adds more variation and a deeper dive into “Kinetic Strength”’s shadowy sci-fi. With the intimidating “Vision 1″, I imagine a dystopian-ish eighties film scenario where they’ve locked up a building after a crime, leaving everyone on edge. “Crystal Vision” is the prettiest moment on the album with the sort of aquatic synth-bell gleam that became popular years beyond 1980. “Visionary” is all weightless and empty hums: non-threatening, but the paranoia lingers. In stark opposition to how the album began, “Dark Vision” ends it all with sinister droning.
If you’re curious to hear more from Bruton Music’s analog synth phase, I highly recommend this 22-minute compilation.
♥︎ – “Kinetic Strength”, “Kinetic Research”, “Crystal Vision”, “Vision 1″, “Visionary”
synth pop / dance-pop
Thanks to a lack of English information, I knew little beyond the title of ‘Chilean queen of electro-pop’ the evening I first heard Javiera Mena, but I was right to trust the album’s shower of acclaim. “No Te Questa Nada” (a divine cross between sophisti-pop and Cocteau Twins) proved the perfect match for the fading sunlight outside my window that day, and the grandiose energy of the album’s second half kept me engrossed until the end.
Other highlights include the fierce climax of strings in “Hasta la Verdad”, the endlessly soaring choruses of “Luz de Piedra de Luna” and an A+ Miami-freestyle resurrection in “Aca Entera”. The latter is adorably kitsch but topped with affirming light and sincerity.
As “Aca Entera” demonstrates, there’s something genuine about Mena that sets it apart; like Nite Jewel and Twin Shadow, I get the impression Javiera’s approach comes more from respect for her synth-pop roots than any kind of mockery. Her strong ear for melodies and glittery synths make this a satisfying album.
♥︎ – “Hasta la Verdad”, “No Te Questa Nada”, “Luz de Piedra de Luna”, “Sufrir”, “Aca Entera”
Part of a new column highlighting creative uses of sampling in electronic context.
Lukid’s Lonely At The Top is an example of the huge potential lying in modern electronic music and it’s never-ending connections, through sampling or otherwise, especially when we avoid cliches. Like a mutating creature, it shifts gradually from ferocious water-splashing rhythms (”This Dog Can Swim”) to techno synths shrouded in fog and shattering like glass (“Southpaw”).
One of it’s more emotive songs, “Bless My Heart” makes a distinctive opening by morphing this Evelyn ‘Champagne’ King hit into something both robotic and soulful, emphasizing the shimmer of the e-piano and adding a number of strange (but subtle) down-pitched voices.
A mix inspired by the music & visuals of the Moomin universe with folksy, sweet, calm, pastoral and thoughtful moods. Ranges from misty folk songs to gentle new age; featuring twinkling keyboards and pseudo-classical/chamber elements (woodwinds, harp, strings).
Featuring music from Moomin Voices (a recording of songs written by Moomin creator Tove Jansson), the 90s anime OST, the 1980 puppet show OST, 4AD and more!
mumintrollet’s visa tove jansson, johanna grussner & mika pohjola / aikea-guinea cocteau twins / antarctica echoes vangelis / bordeaux durrutti column / rozo, du pecoj world standard / kun ha minami he sumio shiratori / vite, petite fille david snell / parachute area / thibault et l’arbre d’or emmanuelle perranin / silver chord jane weaver / glad glasser / most unusual graeme miller & steve shill / icebow delicate features / open sequences a vision of panorama / i’ll read you a story + push the boat onto the sand colleen / le reflet dans l’eau train fantome / the dancer linda perhacs / lily of the valley brian bennett / february milan pilar / eternal garden ray russell / soft spring paul williams
About this mix:
electro-disco / synthwave
Finnish synthesist Lumeet’s music is what I hoped Lindstrom’s would be. I’ve tried listening to so many Lindstrom projects yet somehow each failed to excite me. Lumeet, meanwhile, takes a similar cosmic disco style and condenses it into something more melodic and exciting. I do adore a handful of tracks on his first album, but I found the sadly forgotten Lucitania more consistent.
Each song has an endless burst of sci-fi synths, possessing that carefree energy that benefits almost any retro electronic album. A few longer tracks remain but they don’t ramble as much as they did before. “Cloudspinner”, for instance, manages to go for 7 minutes without getting tedious, evolving through dizzying arpeggios and maintaining an entrancing groove through it’s whole length. “Bloom” also stands out by replacing the uptempo rhythms with a mood of calm but whimsical fantasy. I absolutely recommend Lucitania if you have any interest in electronic disco.
synth pop / new romantic / synthwave / sophisti-pop
More like this – Ice Choir’s “Unprepared”; early Depeche Mode, Roxy Music’s Avalon, ABC’s Lexicon of Love, Duran Duran’s Rio
Part of a new column on the highlights of my search through the oceans of 80s synth pop-inspired modern music. I give special focus to albums with a creative or genuine approach, along with hidden gems.
Kurt Feldman’s Ice Choir project is one of the most accurate recreations of the original new romantic/synth pop sound I’ve heard, one with a refreshing lack of irony. The synths have a glittery, almost pastel sheen to match the pink of the cover – complete with hints of fretless bass and Cocteau guitar, Afar’s sound design should be a treat for anyone fond of romantic 80s pop. To top it off, Kurt Feldman’s vocals resemble Martin from Depeche Mode, if having a more refined tone.
The resulting songs are incredibly blissful in such a way that fits well with the grandiose luxury of hit albums like Lexicon of Love or Avalon. With both relentless energy and soaring melodies, I’m convinced “Two Rings” is one of the most extravagant synth pop songs to come from this decade. “Peacock On The Tall Grass” brings some of those angelic yacht-like heights of sophisti-pop to mind. The chorus of “Teletrips”, meanwhile, is the musical equal of a utopian morning walk.