I Am Boleyn - Voyager

Review by Karl Magi

Overall Album Impressions

I Am Boleyn’s Voyager is emotional, full of synth-pop energy and rich with expressive vocal performances and heartfelt explorations of what it means to be a human being. The way in which all of the musical elements combine with the collaborative songwriting and Lydia Owen Edmunds' (I Am Boleyn) performance creates music that is fully realized, intensely engaging, and irrepressibly energetic.

One of the most attractive things about Voyager for me is the way in which the lyrics and singing interact and play off each other. Lydia Owen Edmunds' voice is delicate and nuanced, with the ability to soar or ache. The lyrics are well thought out and full of emotion, and these two things become one powerful, compelling way to explore what it means to be human.

Another strong aspect of Voyager is the balance of different synth sounds, instruments, and musical ideas. The synths have a wide variety of tones and textures, the guitar and other instruments blend well with the overall sound palette of the music, and the melodies are full of catchy, ear-pleasing passages. The beautiful harmonies also intensify the expressive power of the music.

I also want to mention the collaborative nature of Voyager’s songwriting. All of Lydia Owen Edmunds' collaborators help her to weave complex emotional portraits and draw vivid, human images in words. It's always good to see songwriters working together to create and explore.

My Favourite Songs Analyzed

“Only Space” commences with orchestral strings warming up and their melody trumpeting out with haunting energy. As Lydia Owen Edmunds' voice announces the journey ahead, the drums rush with intensity and the spectral synth descends, trailing tendrils as Lydia Owen Edmunds' captures adventure and emotion while the vocals slip with satiny grace.

Twinkling notes flash with Lydia Owen Edmunds' expressive voice as the bass shifts. As the ethereal vocals glide, I feel transported again. As the low end drives with a steady heartbeat, shimmering notes flash past and Lydia Owen Edmunds' captures all of the excitement within the words. Gleaming synth illuminates the track and the vocals are touching and luscious, driven by the unstoppable beat.

Now the oboe-like synth moves as the singer repeats the phrase “only space.” The drums burst again and the main melody reaches out with a sense of progress as Lydia Owen Edmunds' draws me into the music with her emotive performance. Once again the space flight message calls out and the track ends.

Our storyteller talks about stars reversing on the ground “lost like a sound." The sky has become the floor and color’s the core as the storyteller is "caught in between the Milky Way" without fear.

She says that she'll "travel through space and time a million years" as she encounters "intergalactic minds and atmospheres." She adds that if you only believe, you can start again because "the future is close and I can take you there." She concludes by saying "enter this world, come as you are, you know the journey's just begun."

Glittering chimes sparkle distantly as rounded notes tumble over each other to open “Girl Like Me.” Lydia Owen Edmunds' softly touching voice slides out with gentling emotion as the background flickers delicately. The percussion ticks softly as the chorus glides with breezy emotion and the bass throbs densely.

Lydia Owen Edmunds' voice is surrounding and full of affectionate sensations which draw me in as the drums and bass snap into a steady pattern. Above it, elegantly unfolding synth moves as the chorus slips past while the chimes add sunlit luminosity. The bass drops again and the low end pops with a strong groove while the vocals wrap around me and touch me. The drums guide the music as the chorus slides out with heartfelt sensations before the song ends.

The narrator muses about the disastrous state of the world and how we spend so much time on the wrong things. But she says, then you let someone in and "you forget everything, you forget the hurt has ever been." She points out that if a girl like her can meet a boy like the song's subject and "run away with you tonight," and as they stay in his car and he kisses her "under the night sky," she knows that it'll be alright.

Our storyteller says she would always dream, but she never thought that "I could live my life in a movie box." The song's subject came in like a tide and changed everything as she adds, "What a crazy world I'm living in!" before concluding that she knows it's going to be fine if they're together.

“Taxi” starts off as a distorted voice speaks and the bass rushes rapidly. The melody is tinged with aspiration and desire as Lydia Owen Edmunds captures every emotional nuance while the bass throbs.

The vocals shift and move into Lydia Owen Edmunds' range as the colossal bass drives. The gossamer melody brushes by and Lydia Owen Edmunds' catches me with her ability to convey the emotion in her airy vocals. The drums add a clapping sharpness as the bass tumbles below and a sweeping sound flows past.

Now the wildly twirling synth adds thrilling momentum as the vocals carry the melody as it reaches out with passion and joy, tinged by a sense of readiness for change. Lydia Owen Edmunds' vocals are full of life and affection, conflicted emotion flowing as the low end throbs with intense weight. Piano chords shift as the track comes to an end.

Our storyteller speaks of a late night taxi ride, reminding herself that she said she’d never call the song’s subject. She feels “lost in the back seat,” and she knows where everything’s headed. She adds, “I’m so drunk right now and you’re on my mind, I should go home but it’s too late.” She says now isn’t the time and she doesn’t want the other person to tell her to stop, so they can “just go ahead and break my heart.”

As the taxi exits the highway, the song the narrator once shared with the other person is playing on the radio. The cab is minutes from the song subject’s house and she realizes where things are leading. But, “I’m so close now, I can’t turn back.” As they reach the traffic lights near the other person’s house, she can’t go back because “it’s like the streets are pushing me forward, chasing my heart ‘round every corner.”

Reverberating, glistening chimes ring with a touching, gentle melody to kick off “Breathless (The Corrs).” The bell-like notes ring and Lydia Owen Edmunds' satin voice carries the unfolding melody as finger snaps move along with glimmering jazz organ notes that add compassionate radiance.

The low end begins to pulse as the chorus flows with brimming passion, carried by Lydia Owen Edmunds' engaging vocal performance. The sax that fills the music adds a rich, joyful tone as the drums kick along with her warming, affectionate vocals. The bells contribute a crystalline glimmer as the chorus flies with luminous notes around it and the low end continues to press on. The sax arcs out again, full of love.

The vocals slip past with gripping expression as the rippling synth erupts into life again and carries the melody with freedom and easy motion. As the song comes to an end, the sax sings alone, full of excitement, before silence falls.

The narrator expresses an overwhelming, passionate longing for a deep romantic connection. She feels emotionally and physically consumed by her desire, unable to hide or resist the feelings stirred by the song subject's presence.

Time seems to stand still when they're together and even the smallest touch leaves her feeling weak and breathless. Urgency and intensity define their love. Their connection feels dreamlike and all-consuming, as if nothing else matters but this moment. The repeated plea to “go on” reflects a desire to be fully swept away by love, no matter the consequences.

“Driving In The Dark” starts as a limpid synth shines above a quickly pulsing drum and bass beat. Lydia Owen Edmunds' voice radiates clarity and sincere emotion as it carries an energetic vocal melody, exuding a sense of loss as it unfolds.

Drums touch lightly but provide guidance while bass rushes along with them. The retro drums cascade and slightly melancholy piano chords call out before the bass charges on. Chimes sparkle along with Lydia Owen Edmunds' tender voice as a flickering synth cloud rises. The vocals slip out with pained emotion and anticipation intertwining.

The chorus flies out, full of tenderness and yearning for new horizons. Shimmering synth flares and the drums and bass push forward while Lydia Owen Edmunds' voice combines aspiration and wistful feeling.The song ends on bending, enfolding notes that guide it into silence.

The storyteller wants the other person to tell her if they’ve changed their mind. She encourages them to be honest, adding “there’s no need to lie.” She feels that the song’s subject’s love has diminished and “I can feel your heart withdraw.” Now she’s too tired to hold the other person and it’s “too hard to do the thing we need to.” It is also too easy for them to say goodbye.

In the chorus, she says she’ll be fine, she will roll the windows down and her tears will dry. She’s going to “leave this dead end town, driving in the dark.” As the song unfolds, our narrator says the other person’s been talking in their sleep and "telling secrets you should really keep.” There’s something missing when they kiss now and “loving you’s not meant to feel like this.”

As the song ends, she is driving away from the dead end town again as she adds that she won’t be looking back over her shoulder because she’s come to the realization that “it’s time to see that it's over.”

A piano tentatively touches above darkly muffled strings to open “Tiny Love.” Metallic notes tremble as Lydia Owen Edmunds' caressing voice moves above massively thundering drums. The bass is crushing as Lydia Owen Edmunds' catches the mingled longing and ache within the lyrics, pulling me into the emotional world of the song.

The massive drums collide as the vocals punch home the mournful loss and love within the lyrics. The drums collide heavily again and a gliding synth with rough edges slips along with strings that tangle smoothly. The chorus is silky and the drums continue to rebound. As the song ends, the sliding synth moves with towering drums and then silence falls.

Our narrator says that it isn’t a big deal if she doesn’t think about it and “I’m not lying to myself.” She dislikes the feeling of “too much pressure, lack of sleep or something else.” That something else just might be “a tiny little thing called love, just emotions, nothing real.”

The storyteller tries to convince herself that the song’s subject doesn’t mean that much to her. Now she adds, “Don’t talk about it, it’s not how I really feel about you. We tiptoe around it and if you ask I’ll tell a version of the truth.” As the song concludes, she says, “I don't want to drown in, I won't get caught up in this, I won't let me lose myself.”

“Here Before” starts off as rounded panpipes hover gently above a pastel-illuminated background. The drum beat moves in loose-limbed relaxation as the guitar intertwines in a melody full of gentleness and a sense of loss.

Lydia Owen Edmunds' voice is full of engaging emotion, carrying the message of resilience and a sense of abandonment. The drums and bass cruise along as the guitar shines calmly and the vocals are full of compelling feeling.

The panpipes in the distance add fragility, while Lydia Owen Edmunds catches all the conflicting feelings within the words. The drums continue to dance with the air, the repent pan pipes shimmer and the vocals slip out with touching sensations. As the guitar glimmers, the drums and bass pulsate while the synth fills the background.

Our storyteller wants to return to the beginning, as she gave the song’s subject all of her heart. She adds, “The time we wasted went so fast, never thought that we would fall apart.” She lost track of time and the other person went away because they “never had forever” on their mind.

The narrator says she’s been there before and “now you’re sorry at my door.” She adds that every time the song’s subject leaves her wanting more. She goes on to say, “It’s so hard to know where our future will go.” If she had a second chance, she would try again because “it’s worth the lesson in the end.”

As the song concludes, our storyteller says, “I don't care if I'm a fool ‘cause I know that you're one too” adding that even after everything she still wants the song’s subject.

Colossal, triumphant synth rises as the drums kick into a dynamic beat and the vocals float to begin “Say Something.” Gentleness permeates Lydia Owen Edmunds' touching voice while the synth moves in expanding whorls and the low end continues to pulsate.

The chorus slips out with silken ease, compelling me with its complete vulnerability. The guitar slides past with a warming voice, mixing with Lydia Owen Edmunds' emotionally open vocals and the pounding low end.

As the strings in the distance add a golden halo, the drums and bass continue to throb. The vocals are full of tranquility and pain, mingled into one complex whole. The guitar gleams with luscious radiance as it unfurls and Lydia Owen Edmunds cries out once more before silence falls.

The narrator says it’s hard for her to read the signs, adding that “we didn’t talk about your sadness.” She says the song’s subject can “say it with your eyes,” but tells them the time for silence is over.

Everybody thought the song’s subject “could always talk,” but never said how they were feeling. She adds that since the other person is leaving, she “can’t help believing,” so she asks them to give her the reason.

Our storyteller says, “I need you to say something to me,” pointing out that the other person doesn’t love her and never did so, “say goodbye to ever after.” She adds that she never saw the other person cry for her because “all this time, it didn’t matter.”

As the song concludes, she says, “Now that it’s over, I’m waking up sober, I’m looking for closure. I need you to say something to me.”

“Meet Me in the Clouds” comes alive with enormous bass growing as the distorted vocals tremble in the distance and digital-sounding notes ripple. The drums and bass pulsate heavily as a spectral synth levitates with a lonely melody. Lydia Owen Edmunds' wordless vocals echo into openness before she sings to caress my ears, drawing me deeper into the world of the song.

The thudding low end adds dramatic weight as the spoken word segment is chanted with haunting smoothness. The low end dances on as the chorus bursts with exciting life, propelled by Lydia Owen Edmunds' deeply felt performance. The massive drums collide as her voice echoes into open space. The way in which Lydia Owen Edmunds' vocals trail through the music creates a net in which to entangle the listener while she chants, driving the song’s emotional strength.

The bass thumps as the snare drum erupts again and the vocals ring out with intensity. The chorus hovers again with a ghostly sensation before the song comes to an end, with Lydia Owen Edmunds' surrounding voice flowing until the music ends.

Despite being on top of the world, our storyteller is still "down here, running around after highs all day" to avoid feeling fear. She adds that she's had enough and she's got to stop. She vows to "change the scene" because she has to know what happened to her dreams. She "had to stop this living day to day," and now she wants to tell the song’s subject to "meet me in the clouds."

The narrator is in another dimension and when she touches the song’s subject, it's "an atomic reaction." She asks the other person to rise from the ground and meet her in the clouds. She adds, "I'm moving fast in another direction, I'm looking out for a real connection." The other person is on top of the world but remains down below, "always searching for signs of life when the answer is clear."

Now our storyteller reminds the other person to take their body and soul, let the music take over and "lift you up to a higher place, baby." She points out that the song's subject was lost but has been found as they fall "back into the sound that lifts you up to a higher place."

Rapidly washing synth joins Lydia Owen Edmunds' gently breathy voice to commence “Another Me.” The utter softness and emotional depth in Lydia Owen Edmunds' vocals touch my heart and draw me inward. Brightly glittering synth dances along with her lightly touching voice while the wistful melody dreams above the thudding low end.

Sparkling synth flickers as Lydia Owen Edmunds captures the power of love and passion with her emotive vocals. In the distance, frolicking notes dance with effervescent luminosity while the drums and bass continue to thunder. The chorus climbs with uplifting life, tinged with melancholy. The words slide with genuine affection and the drums continue to pound.

A snare drum continues to kick as the low end accelerates and the chorus climbs, leaping with coruscating luminosity. The track slides with smooth emotion before the song fades.

The narrator tells the song’s subject that you can’t do things differently or be someone else. She wonders, “Is it in my DNA? Am I born to be this way?” She adds that she feels hopeless in love, but insists she won’t be “another me.” With regret, she says, “Give me something good and I will break it.”

Our storyteller points out that usually, “I'm another me,” but she feels the song’s subject isn’t like other people. She adds that “pain is the same” and pleads for the other person to pause because, “I don’t want to mess this up. I want to be another me this time.”

On the previous night, the narrator says, “I died when you kissed me.” She speaks to the other person and says, “Tell me what you want to do, I’ll do anything for you.” She concludes, “Maybe this is what it feels like—the falling.”

“Stay” begins with twinkling chimes and smoothly swelling synth as gigantic bass throbs and vivid guitar strums. Lydia Owen Edmunds' tenuous, trembling vocals carry the aching melody above the shining guitar as the drums pulsate easily. The sincere emotion within her voice pulls at my heart as she carries the hurting melody out above the thick bass tide.

The chorus is gentle and pained as it drifts above the reverberating low end. As the vocals slide out, they transmit all of the longing, need and loss within the lyrics. The chimes shimmer delicately as the bass slides past and Lydia Owen Edmunds' voice wraps around the guitar as it calls out. The chorus climbs again, imbued with intense feeling as the twirling arpeggios ripple and the vocals sail out into silence.

Our storyteller begins by saying, “Guess I’m sleeping at home, another night on my own.” She wonders if she’s missed something, because it wasn’t always that way. She recalls the night she met the song’s subject, unable to forget “when you said you want me to stay with you.”

The narrator tries to call the song’s subject, but decides they must be out with their friends. She regrets what she said and adds, “Let’s take the weekend to clear our heads.” Ultimately, she realizes, “I’m so tired of being free.”

A choir of voices harmonizes over the heavily pulsating bass to kick off “Snowdonia.” Lydia Owen Edmunds' voice is fragile and full of tremulous emotion as the bass and drums cascade. The vocals are yearning and full of memory and a feeling of connection as the low end continues to pulsate.

The melody mingles joy and remembrance as the choir calls out and the percussion throbs while the bass drives. Lydia Owen Edmunds captures all of these emotions in her distinctive and intensely beautiful voice, compelling me as she releases all the feelings within the words.

The low end bursts as the vocals slide past with silken ease. The drums batter and pulse as the swirling synth intermingles with the harmonic voices while the ethereal vocals trail through the music. The main melody is full of longing and yearning as the vocals call out and the steady low end throbs.

The choir calls out again as the lead singer lets her expressive voice unfold above the bursting, throbbing low end before silence falls.

There are times when the narrator is “outside the circle, a candle in the rain.” Sometimes she looks at other people and doesn’t feel the same. She adds, “When I’m catching a minute, an hour, I have you one breath away.”

She speaks of Snowdonia and says she never leaves it, carrying it in her heart. She says, “I close my eyes, it’s you I see. Snowdonia, I carry my home with me.”

Our storyteller speaks of the sleeping dragon and the wind at her back, in a place “where the stars will shine like diamonds and the sky is blacker than black.” She talks about the memories she’ll hold in her from “Hardy Head down to Anglesey.”

“Until the Summer Ends” opens with the sound of washing waves as smoothly flickering synth is joined by the breathy affection of Lydia Owen Edmunds' voice, carrying the melancholy melody. The bass undulates as the drifting vocals enfold me in sadness tinged with hope, which I find affecting.

Now the melody bounces with brighter energy as the chimes sparkle and the trumpeting synth harmonizes with the lead singer. The bass and guitar add depth and strength while the shimmering notes sparkle with lively encouragement.

The massive bass snarls while the lead singer fills the melody with authentic expression and the sunlit synth sails past. Once again, the chorus climbs with joyful aspiration while the lead singer carries the melody with assurance and the guitar surges with power.

The elevated notes add crystalline luminosity while the low end continues to drive forward. The charging chords growl and the track flows to an end with Lydia Owen Edmunds' voiceover and a glittering synth intertwining.

Our storyteller says the song’s subject “came around like the sunrise, made me feel like the first time.” She points out that the other person got away “when I should have held you close.” She adds that the other person “disappeared like a low tide, waiting here for a lifetime.” She feels she wasted everything “when I should have let you go.”

Now the narrator says she’s calling with wide-open arms, “still hoping you take me someplace I want to go.” She adds that she’s been dreaming and feeling that there’s something more. She says, “Give me one last dance with you ‘cause I’ve got nothing left to lose.”

In her current frame of mind, she wants the song’s subject to “hold me now till summer ends.” She says she never wants to, but she’ll let go if she has to because “I’d give it all just to feel one last touch.” As the song concludes, she says, “Do you still feel the same? The seasons may be changing, but our summer never ends.”

Conclusion

Voyager is indeed a wonderful voyage across the complicated tapestry of human emotion. It combines well crafted harmonies and melodies, skillful songwriting and carefully curated synthesizer sounds  to create mature and enjoyable synth pop music. 

AM 1984 - Star Horizon

Review by Karl Magi

Overall Album Impressions

AM 1984’s Star Horizon is full of luscious summer vibes, Italo disco goodness and beautifully written melodies. The album is a journey through nostalgia and sonic pleasure, telling tales of warm nights and passionate embraces. This is music with style and flair that keeps me coming back for more.

Star Horizon’s balance of disco funk, synthwave influences and ear candy makes it a deeply enjoyable listening experience for me. The groove is undeniable and the more active tracks have a pumping synthwave pulse while the complex synth layers interlock into a tapestry of tones, textures and timbres that fill me with positive energy and a desire to shake my booty all over the place.

Another reason why I'm drawn to Star Horizon is AM 1984’s beautiful melodic writing. He weaves joyful and caressing melodies that explode with life and happiness. Each melody has a distinct mood and atmosphere, which deepens the overall feeling of celebration and lightness on the album. I enjoy the way in which the music transports me into a realm of energetic life.

I also want to mention AM 1984’s use of horns on Star Horizon. I really enjoy the jazzy licks and the sense of funky energy that they exude. The way they pour out brightness only makes the positive elements of the music more profound. The way the horn section intermingles with the rhythm section results in music that moves forward dynamically and carries me with it.

My Favourite Tracks Analyzed

“Argonouts” comes to life as quickly rushing, shadowy bass tumbles dramatically. A ticking hi-hat and cymbals add tension as the drums hit heavily and an angular, propulsive synth launches forward.

The track surges as dazzling synth chords drift with ghostly tendrils and active arpeggios dance through the music with groovy power. The spinning energy quickly cascades as laser-like sounds flicker. A bending synth is joined by victorious notes that leap out as the drums swirl.

The main melody bursts with uplifting dynamism as orchestra hits add another layer of power. I enjoy the way the melody takes hold of me and launches me into the sky, igniting with encouragement and joy. The bold synth flows out with bright, unstoppable motion as entangling notes move along with the brilliant orchestra hits. The nasal-sounding synth adds emotion as the bright notes shimmer again.

The low end makes me want to move my hips as a synth erupts with blinding luminosity. A shimmying synth arpeggiates with growing tension as the kick drum punches hard. Reverent sounds drift in the distance as the arpeggios become hypnotic.

The laser-like sounds continue to flash as bass rumbles and the main melody flies again, erupting into joyful motion while the sharp edges of the low end drive on. The orchestra hits continue as the trumpet cries out and fills the music with unbridled freedom and the track ends on slicing bass.

Ominous bass pulses as a hi-hat ticks like a clock to commence “Runners.” Urgency grips the music as the hard-hitting drums and dense bass push the track forward and handclaps add extra intensity. The drums flourish and worshipful notes flare as the low end continues to add dramatic weight.

Now the jumping, glimmering arpeggio spins with wild momentum as the drums and bass drop away and zapping sounds cut into the music. The bursting lead synth exudes luminescence and carries a melody full thrilling liveliness above the kinetic drums and bass. The orchestra hits explode like supernovae while the main melody launches me forward with its powerful drama.

Tightly shifting synth moves in wound-up lines as the orchestra hits explode and the drums continue to press forward. The main melody is shiny and celebratory, creating blurring speed as the low end continues to drive. The lead synth spills out brilliance as the quickly twirling arpeggios continue to swirl. Momentum and acceleration define the music as the hi-hat ticks and the low end pulsates heavily.

The bass drops away as the arpeggio continues to rapidly spin and the glowing notes climb and fly again as the drums return. The main melody sings with dynamic muscle and unstoppable energy before the track comes to an end.

“Star Horizon” begins as heavy bass punches and a warmly drifting, trembling xylophone moves with flowing ease. The reverberant notes have a smooth, chilled-out feeling as the drums leap into a heavily muscled beat and the tambourine adds a brilliant ring. The low end’s swagger is undeniable as the melody shifts with laid-back, cruising sensations while hand claps add sharp shape.

The rounded jazz organ carries a melody that is hopeful and tinged with a sense of progress as the disco beat gets moving. The way in which the rhythm grabs me is full of the joy of movement. The drums flourish again and the bass flows thickly as electric bass is joined by crisp horns that explode with brilliant dynamism.

The horn lick is ridiculously irresistible and the groove comes back in with the lambent horns. The disco vibes are floor-filling and the elevated notes explode with lively power. Now the drums and bass lock into an unstoppable heartbeat, the notes tripping in a strongly shaping motion.

Panpipes echo behind the medium-high synth as the horns leap again with a cleanly cutting melody, full of celebration and a feeling of freedom. The low end continues to shimmy and shake with undeniable rhythm while the glowing notes above fly outward. The angular horn line has a crisp, cool feeling as it unfolds and the bass adds weight while the chords punch forward. The drums flourish and the main horn lick slashes through the music before the track pulses to an end.

After a wild sonic rush, springy bass moves with a wordless vocal synth, singing a catchy melody to open “The Italian Summer.” Now the disco beat hits hard, creating an undeniably cool pulse, the percussion adding to the overall motion-filled dynamism. A glistening synth snaps out above it with a melody full of irrepressible joy, while the clapping percussion moves with the vocal-sounding synth and the horn section cuts in with frolicking happiness.

The horns carries a melody that locks into the low-end pulse with an unstoppable sense of forward motion. The horns unfurl with blaring radiance, lifting my heart along with them. I can imagine the dance floor full of sweating, shaking bodies as the slap bass locks into the low end.

The drums flourish and the reverberating, bouncing synth leaps through the music while the brass section fires again. The leaping, glistening brass is full of summery sensations while the low end makes me shake my hips. Gigantic bass pulsates heavily as the vocal-sounding synth bops through the incredibly catchy melody and the full disco heartbeat comes in again.

There’s a sweet, free-swinging quality to the track that I find deeply enjoyable. The hand claps send the grooving slap bass rolling, keeping things moving as the vocal synth is joined by the cleanly shining horn section. The drums punch one final time as the low end jumps forward and the track comes to an end.

“Blu Tropical” comes to life as tightly wound synth revolves and the flaring chords are joined by thudding bass. The track is heavy with disco power and the slap bass adds bright accents while the elevated synth wriggles.. Brilliant notes flash as they dance out above the low end.

The thick synth chords are joined by the horn section slicing with Latin flair, creating a tropical feeling within the music as the low end heaves. I enjoy the steamy heat that radiates from the track like a Miami night as the heavy drums and dense bass throb.

After the drums flourish, strumming notes move with the undulating bass and thumping kick drum to create an irresistible heartbeat. The guitar swings smoothly, blasting out incandescence as the giant bass shimmies. The bass and gleaming synth chords intertwine as a trumpeting synth flies outward. The drums flourish and the Latin energy erupts with torrid passion from the horns as the strumming guitar flashes past.

The horn section is clean and sunlit, crying out with ardent dynamism. Blaring chords shine intensely and the drumbeat launches again. As burning fire permeates the horn section, the track draws to an end.

An accelerating, rising sound climbs above dense bass to begin “Palm Beach.” Gently lucent, pulsing synth moves in rounded flashes as clapping percussion joins twanging electric bass. A tambourine taps as the guitar intertwines and the drums and bass collide in a propulsive disco heartbeat. The guitar adds brilliance as the drums flourish and the low end fills with a powerful, throbbing rhythm.

Slowly evolving notes have a chilled-out feeling as they drift along with the slap bass which is joined by a blazing synth. The bass descends before the elevated, flashing synth leaps into a melody that explodes with dramatic aspiration and the feeling of hot summer nights.

The low end continues to throb heavily as the bass rushes and the quickly flickering synth reverberates. The saxophone cries out with impassioned, sensual strength as the disco rhythm continues to shift below. I enjoy the way the rhythm fills me and the saxophone adds rich flavor.

The delicately gliding synth chords are joined by the brass again, ringing out with irrepressible motion as the low end drives on. The drums flourish and the track comes to an end on the actively leaping main melody.

“Exotic Night” starts with crushing bass and a vibrating synth which flows in descending motion. A tambourine begins to shake as sharp-edged synth pulsates along with it in an active rhythm. The low end creates dramatic action along with the slicing synth, which is joined by a snare drum adding to the dynamically flying heartbeat.

The bass is joined by a slowly trembling synth which illuminates the music in a moonlit glow that I enjoy. The swirling synth spins out in active lines as the low end drives on with a disco feeling. Now the luscious synth chords grow and add rich support as the main melody brings a sense of lively freedom. The low end continues to punch as the elevated notes flicker ecstatically. Underneath the other elements, the bass is a steady force.

As the melody ripples on a bouncing synth, it adds a playful sensation while the brass section exudes free-flowing pleasure and the low end hits hard. Now the rebounding synth is joined by a swirling synth which entangles as the drums smack hard and the synth chords contribute a soft radiance. The drums flourish and the twirling synth is joined by a dancing pulsation which shines with increased lustre.

The main melody skips past with abandon as the bright notes slice through the music easily. The low end pulses unstoppable as the shining notes spill out above it. Once again, bouncy notes frolic and the horns fly out as the track ends.

A tambourine and echoing drums reverberate into open space and commence “Lost Memories.” The softly brushing sounds flow out into the track as the drums throb and softly swelling chords contribute rounded luminosity and metallic glow. The echoing percussion drifts as tenderly touching notes skim through the music with a feathery feeling.

The arpeggiating notes dance as the drums punch and gruff notes add contrast while the bass drives. A nasal-sounding, scintillating synth cries out with a wistful melody that evokes memory and dreaming. The melody becomes more uplifting and positive as the guitar slashes and my heart rises with the joy and encouragement within the melody.

The drums burst as the ballad continues and the rough-edged guitar moves with entangled, burnished synth The percussion continues to add shape while trickling notes glimmer and the guitar adds more warmth. a synth pours out solar effulgence which slides through the music, feeling soothing and delicate.

Shimmering notes continue to sparkle freely as the broadly descending synth chords adapt. The drums flourish and the main melody shines while the drums continue to punch in. The track ends with a growing sense of liberation and pleasure.

Conclusion

Star Horizon balances melody, harmony and groove in a way that I find intensely pleasing. There’s an overall sense of encouragement and frolicking energy within the music that makes me want to hit the dance floor. This is instrumental synth music with soul, fire and sonic pleasure that fills me to the brim.

Arcade Beach - Music For Night Drives

Review by Karl Magi

Overall Album Impressions

Arcade Beach’s Music For Night Drives explores love, loss, melancholy and joy, enfolded by Ben Paska’s beautiful production. There are synths that combine in lush layers and guitar which intertwines and joins Nick Sauter’s first-rate vocal performances and strong songwriting. When one adds the neon-drenched nostalgia and heartfelt emotion to the whole package, the end result is an album that balances retro dreams with emotive depth and takes me on a journey through sound.

The way in which songwriting and vocal performance combine on Music For Night Drives is a compelling draw for me. Nick Sauter has a flexible voice that is able to capture wide-ranging emotion and deliver it with sincerity and heart. When combined with the band's songwriting, the explorations of affection, longing, sadness and passion take on an intensely felt quality, evoking a sense of relation to the words and their associated feelings.

I am attracted to the fact that all of the varied musical elements interlink to create a richly layered support for the singing and songwriting on Music For Night Drives. The guitar performances are full of soul and intricacy. The synths all combine to create tones and textures which deepen the emotional effect of the words and the saxophone that comes in contributes passionate emotion and jazzy feeling. The end result is nostalgic and full of instrumental talent and beauty.

One more observation I’d like to make about the album is the inclusion of David Schuler from The Bad Dreamers on Moving On. His lyrical and deeply expressive voice adds another layer of emotional engagement to the song and his performance is strong, making the end result even more gripping and engaging.

My Favourite Songs Analyzed

“Nightfall” begins with a quickly bursting drum beat and hand claps as flashing synth spills sunset light into the music. The guitar adds a delicate luminosity as the bass rumbles below the intertwining notes and the drums burst into a poppy beat.

The guitar melody is full of hope and melancholy as Nick Sauter's expressive voice calls out with lyrics that are full of hurt. The low end continues to explode with energizing life while the vocals climb with touching power.

The chorus arcs with piercing feeling as the drums continue to drive on. The guitar in the distance pours out brightness into the music as the drum beat continues to erupt. The way in which Nick Sauter delivers the lyrics tugs at my heart with their deeply felt emotions.

As the chorus rings out again, the vocals carry melody, dynamism and pain intertwined within them. In the distance, the guitar adds rhythm before flying out into a solo that is yearning and intricate as the drums burst alone now. The hand claps continue along with the percussion and the chorus rises with a gripping feeling before the song ends.

The narrator talks about the neon lights shining through his windows as he realizes that "this is all insane." He’s been "living in the corners" of his mind and, as a countdown begins for the memories to become dust, he asks,"What do you do when you're hit by such a breach of trust?"

In the chorus, our storyteller asks where they go from there at nightfall. He speaks of falling asleep and falling through the atmosphere. As he travels “in between,” he visits "pieces of what might have been," as he concludes that he bears scars for "each and every sin."

An extended sweep of luscious synth gleams to commence “Isolation.” The bass continues to undulate as Michael Negoita’s guitar softly twangs in the distance and tender notes levitate. Nick Sauter's distorted voice begins to grow in power as the guitar shines with warming sensations and the drums and bass kick in. Radiant notes sing out as a chiming synth contributes crystalline light.

Nick Sauter's voice is full of regret and emptiness and the low end continues to pulsate. The sense of disconnection and mournful feeling is powerful within the vocals, drawing me in. As the chorus glides out, a craving for connection fills the music. The drums continue to throb as the fragile synth glitters with tentative light.

The chorus slips through the music with a bereft and unmoored feeling that is deeply affecting. The guitar gleams with lambent sensations as the low end continues to patter. The gruffness in the vocals adds to the emotion within the music.

The guitar solo cries out with deeply affecting emotion as it climbs and shines above the continually pulsating low end. The chorus drives home feelings of need and longing, carried by Nick Sauter's gripping vocal performance. The drums continue to throb as the vocals drift before silence falls.

As our storyteller got off the phone late the previous night, he realized that the song’s subject has left him in the fight alone. He talks about getting off the train and starting a fight as he adds,"I don’t know where we started or how we went." He "took a cab, no direction home."

The narrator says that "all the things I hide are buried behind a wall." He adds that he starts in black and white before moving into colour. He adds,"I want to know how it feels in the world to be on my own. I want to feel what it is in a world to be left alone."

As the song ends, our storyteller says, "Wherever I go and whatever I take, I’m ready to face everything at stake. It’s isolation, in isolation."

“Bad Morphine” starts with a metallically ticking hi-hat and refulgent synth as the drums launch with springy energy. The guitar curls in the background as the drums continue to burst with strength and swelling synth shimmers. Nick Sauter's voice is full of wishful ache and a sensation of dreamy disconnection.

The track continues to drive with the bursting drums as the shiny synth flares and Nick Sauter's voice captures a sense of need and dramatic expression. I enjoy the emotional power of the song as it unfolds. The guitar solo is genuin and intricately unwinding as Nick Sauter captures the pain within the lyrics.

The track fairly vibrates with feeling as the soulful vocals call out with the chorus. Ben Paska’s sparkling synth notes dance in the distance as the drumbeat continues to rock it. As the guitar cries out, the luminous synth carries a melody that’s surprisingly upbeat despite the emotional pain within the song. The deep guitar slashes into the music with heartstring-tugging sensations as the drums continue to guide onward.

Blinding light flashes forth as the drumbeat continues to punch and the guitar tangles and leaps with cascading expression. The chorus rises again as the drums continue to pulse and the song comes to an end.

The narrator says that he's been "neglecting what I should have done but I don't end," as he is caught between chagrin and rising up. He says that "your lips (are) still haunting me just like a midnight breeze," but "nothing hurts like the cold, so you better do what you've been told."

Our storyteller points out that the sun sets faster than it once did and he recalls the "blazing fever you brought me through," as he asks, "can I count on you? You're my one last strike to make it all right."

A sense of betrayal fills Nick Sauter and he feels weak when he recalls past events. He concludes: "I see you in my dreams like I'm on bad morphine, still nothing hurts like the cold better do what I've been told."

Tender notes expand along with radio static that joins with an old TV ad for Nintendo Gameboy as “Moving Away” begins. Radiant synth ripples and entangles with shining guitar as David Schuler's resonant and emotive voice carries the dreamy and yearning melody, while the drums cruise with smooth relaxation.

David Schuler's clear voice seizes me and punches the lyrics home to me. As the bass undulates, the chorus is full of gentle progress and a sense of nostalgia. The kick drum continues to pulsate while the lyrics are carried on David Schuler’s gripping vocals.

The shining notes that carry the melody are guided by the smooth drumbeat as they exude diamond light. The singer has real feeling as the trickling synth glitters and the track continues to pulse while the guitar unwinds with a caressing sound. The low end continues to glide as the chorus floats past with passionate expression and David Schuler carries me along.

The guitar solo sings with aspiring brilliance and a silken flow as the drums continue to punch. The entangling notes are full of illumination as the delicate vocals are full of ache. The bass tumbles before the guitar joins Nick Sauter to add more depth to his expression. The drumbeat continues to throb as the guitar flares and the track comes to an end.

Our storyteller is trapped in between things as he carries the weight of what he's seen. He says it's a "suitcase full of baggage I don't need." He hears the city streets "telling a tale of what used to be," as he trades his past for the chance to be released.

Now the narrator says he's moving away because "I don't know what is true and fake," and so "I'm selling a dream and moving forward. I’m moving away now there's no reason I should stay." He adds that he’s hitting the road and doesn’t want his world to come along.

For the storyteller, "the dark out here is more of a fight and less of a fear," as he says he's no stranger to the great unknown. He concludes by saying "the skyline fades and falls away, a neon ghost in the break of day," as he searches for something undefined.

“Silver Lining Street” opens as smoothly gliding synth flows and guitar flashes with tender light while the drums burst hard. A scintillating synth cries out with a hopeful, reaching melody and Nick Sauter's voice erupts with heartfelt emotion, carrying a melody that reflects hope.

Ben Paska’s production captures the emotional tenor of the song. The guitar is joined by flickering chimes and the vocals soar with deep feeling. Now the chorus rises, passionate and full of questioning. I find the song’s message compelling as it unfolds. A glittering synth calls out with a melody that combines sunlight and melancholy, while Nick Sauter takes hold of the lyrics and drives them into my heart.

The drums burst with compelling energy as sparkling notes illuminate the music. Michael Negoita’s guitar solo flies in, entangling with fervent expression, rich and full of strength. The drums explode again and lambent notes echo before the song ends.

The narrator talks about seeing “empty spaces on the avenue” as neon lights “paint the walls in darker blue.” The song's subject walks past, eyes downcast, as if “you wanted me to keep out of your glow.” The narrator has the song and his feet while “my heart still beats on Silver Lining Street ‘cause that’s where I belong.”

Our storyteller asks what he's supposed to do or say today, wondering, “What am I supposed to think of anyway?” He sees the world’s beauty outside and adds, “All I need’s a little space for me to hide.” But when “that door is open wide and there’s a fire burning inside,” the world continues on and “times get rough, but I’ve got love and that’s enough.”

Hugely rippling bass smoothly fills the background to commence “Night Windows”. Chimes flicker as staticky voices move with distorted sounds and the chimes ring. The electric guitar calls out with rising vigour as twirling arpeggios frolic in the distance. The guitar is bright and dramatic as it soars above the guiding low end. The drums are punchy and strong while Ben Paska’s glimmering synth entangles in the distance. Nick Sauter's voice is full of intense expression.

Chimes flash again as the drums continue to pulsate while shimmering notes fly past. The bass undulates as the chorus erupts with tender emotion, pulling me into the song’s atmosphere. The song flies with powerful feelings as the arpeggios swirl. The driving low end pushes forward as rounded notes sparkle with tender luminosity.

Passion and expression yearns for escape as the guitar sings with gleaming intensity. The chorus rises again, filling the music with heart and soul while the arpeggios spin out. The drums continue to drive as the guitar fills the music with its strong voice.

The guitar solo is full of gruff feeling and blues-inflected shadow as the pounding low end moves. A tinge of melancholy fills the song as it cascades and leaps freely. Once again, Nick Sauter drives home the song’s emotional content with his distinctive vocals before the song comes to an end on the twirling guitar.

This tale’s teller starts painting a plain room, painting a picture and “knowing what to do.” He speaks of vanishing into the song subject's tired eyes as he wonders if he's a fool. He talks about feeling “the call in a crowded place,” like an answer promised from outer space. He wants to be taken away because “the past is here to stay.”

Our storyteller speaks of “night windows flying by, chaos in the heat of night,” as he asks the other person to pretend it’s raining just for him. He sees “staring eyes” in the night windows as he moves along and says, “I pay the price.” He adds, “I might be crazy staying sane, but I won't stop, I’ll break the chain.”

Now our narrator's view has become clearer and he says, “If there’s an arrow, I know who to shoot.” The other person calls his name and he wonders if he’s with them. He concludes: “Please release me from this cage, another day, another page. There’s already things I need to know.”

“Lost in Conversation” begins as ethereal notes shine above an oscillating bassline. The bass is heavy and powerful as the guitar softly drifts through the music and Nick Sauter’s airy voice glides with an emotive caress while the kick drum begins to punch.

The ringing notes tangle with metallic light as the bass throbs. As the chorus rises, I am carried along by the conflicted emotion within Nick Sauter’s voice. The satiny smooth synth carries a melody that exudes peaceful, wistful sensations as the drums press on.

Once again, the climbing chorus radiates mixed frustration and impatience, while the saxophone comes into the music with its reedy passion, soloing with jazz-inflected elegance and slipping relaxation. The electric guitar cuts in now, rising to the stars with rough-edged beauty, dancing through the music with intricate dynamism. The low end continues to burst while the chorus flies out and the low end presses on.

The track explodes with forward motion as the string-like synth cries out and slips above the solid bassline. The song ends on full-sounding, brassy bells ringing into silence.

Our storyteller talks about getting up and out to the commotion and encourages the other person to “put your feet out, let the rain fall down.” He talks about being lost in conversation, saying, “We pray and every day we're closer to the curtain,” with no knowledge of how much time we have left. Yet still, we “spend the days taking it for certain.”

The narrator tells the song’s subject not to give him “that smile.” He says it’s “too late to compensate” and wonders why the other person hesitates. He goes on: “Time is of the essence,” adding that the song’s subject doesn’t have to prove how good they are. He concludes, “You never care as long as we get going.”

As the song ends, he says, “I don’t know where to find the dream you’re looking for, longing for. I won’t lie that way no more.”

The sound of rain splashing and echoing chords ringing opens “Undelete.” Sirens call out as the steady synth pulse drifts with sharp edges and a resonant sound vibrates. The drums drive on now as Ben Paska’s celebratory, fluting synth sings a light melody that lifts me above the stresses of the world. The low end continues to pulsate as Nick Sauter’s emotional vocals carry the bubbly melody above the undulating low end.

The hope within the vocals is touching for me, as the synth interlocks with the guitar while it pours out sunlight. Nick Sauter captures the mix of dreaming, escapism and an ache for freedom. The chorus is full of warmth and a sense of expectant hope.

The guitar rises now with luminescent shine and cascades with intricate depth above the steady low-end beat. The drums and bass throb as a trembling synth moves with silky strings and the sound of sirens rushes by again. The drums and bass drop for a moment before the guitar rises again with Nick Sauter’s voice, reaching out for a better life as the scintillating synth flares with lively light. The fluting notes in the distance cry out and silence falls.

Our storyteller describes the song character living alone “with a beat-up phone in a trailer by the sea.” She interrupts her lonely nights by taking the train “to the city and the lights, to become someone that she cannot be and somebody that she likes.”

In the chorus, the main character asks to be freed and pleads for someone to “say you want me, say you need me, undelete me.” She aches to be loved by someone unconditionally.

Now our storyteller explains that since the man she loved has been gone, she’s been “keeping on, trying to stay above the ground.” When the rain falls on her side of town, “she feels as if she drowns.” Every night she returns to a world that’s passed by and during the day “she’s watching reruns of her shows like she did when he was there.”

Conclusion

Music For Night Drives is a deeply affecting and well-crafted synth pop album that radiates maturity and emotional depth as it unfolds. I enjoy the listening experience and it’s one I find myself repeating often.

Mission 87 - The Deal III

Review by Karl Magi

Overall Album Impressions

Mission 87’s The Deal III is a cinematic exploration of 1980s Miami, full of beauty and danger. The album unfolds in a series of vignettes painted by synth tones, skillful guitar playing and melodies that capture mood and atmosphere. A sense of drama and danger is leavened by tranquility and imagery full of swaying palm trees and tropical water. The balance of different elements makes for an enjoyable and immersive listening experience.

My first observation about The Deal III is that Mission 87 is adept at creating atmosphere and imagery. I've always been a fan of 1980s cop movies and this album transports me into that genre. Moments of deep tension are balanced by scenes of cruising down neon streets or sitting on the beach as breakers roll in. Each track reminds me of a different shot from a film, capturing everything from lurking fear to affectionate passion as the story unfolds.

I'm also attracted by the way Mission 87 brings together his synth palette with his electric guitar. The synth choices are aurally intriguing and help establish the mood of each track. Their tones, timbres and textures paint vivid pictures that support the superb guitar performances. Mission 87 has the guitar chops to deliver solos that drive home the emotional arc of each song, enhancing the cinematic quality of The Deal III.

The melodic nature of The Deal III is irresistible to me. Mission 87 has composed melodies that are punchy and clean, conveying different aspects of story throughout the album. The tracks all have melodies that are unique, engaging and emotionally impactful, deepening the album as each melody unfolds.

My Favourite Tracks Analyzed

“Welcome to Miami” commences with computerized notes entangling with a heavily throbbing bass that has a rough-edged quality. A guitar slowly drifts with laid-back calm as the active drums burst along with sparkling synth that flips through the music rapidly. Resonating synth and a xylophone dance in a jazz-inspired pattern, full of dynamism and cool vibes.

The sax leaps into the music, adding depth and richness, while the low end continues to throb powerfully. The guitar calls out with a blues-inflected melody, a little dirty and dark, despite the smooth way in which it unfolds. Panpipes add an airy quality and a feeling of progress to the music. The brightly leaping synth cascades and the xylophone moves with it. The way in which this music unfolds is undeniably chilled out and image-rich, creating scenes of Miami at night.

An extended drumbeat pushes forward as silky notes levitate in the distance to start “Smuggler’s Alley.” The drums and bass propel the music as the swirling notes are broken by tapping percussion. Now a metallic synth carries a melody full of relaxing sensations, skipping through the music with a flowing grace.

Metallic notes illuminate the round-sounding synth that skips in a hypnotic pattern above the driving drums. Brassy synth flashes with a gruff sound above the low end as the jazz organ rings out. The dynamic bassline joins the drums as a cool melody full of motion and energy moves through the music. Now the chiming notes flicker while a vocal sound exhales.

As the track evolves, it creates images of neon-lit streets and white suits with pastel shirts. The drumbeat continues to pulsate and again the melody wriggles with dancing feelings on an angular synth. The low end continues to move forward as the drums flourish and the flaring, echoing synth is joined by a slicing note pattern that leaps through the music.

The synth solo is full of intricate sounds and undeniable jazz vibes, while the low end continues to pulsate. The drums flourish as the solo spins out and bursts before the track ends.

“Havana Rain” opens with massive bass pulses and panpipe synth trickling in easy-going motion. The intimidating bass contrasts with the delicate synth that undulates above it as sharply snapping percussion moves in. The drums echo with openness as shimmering pipes add rainy delicacy before the main melody emerges on a warmly illuminating synth. The melody is melancholy and gently touching, contrasting with the sharper edges below.

The interplay between the trickling panpipes and the encouraging melody charms me. The drums and bass remain unrelenting as the lead synth radiates soft light, while the rainy synth sparkles in the distance. Shiny notes now carry the main melody, calling out with dreaming gentleness and wistful memory as the solid drums and bass lend guiding motion. The main melody glimmers on a shining synth, drifting past with feelings of loss and affection as razor-edged sounds and big drums intertwine.

A sense of uplift touches the aching melody. As the drums and bass fade, chiming notes ring with the feeling of sunlight breaking through clouds—full of ethereal delicacy and caressing emotion. The drum adds an accent while, in the distance, an arpeggiating synth shines and a guitar calls out with the main melody before silence falls.

A repeating bright pulse sets a tone of tension to begin “Business Is Business”. Breezy sounds sweep through as lush bass entwines with a drifting, digital-sounding synth that carries a slightly enigmatic and mysterious melody above reverberating bass and ticking drums. The computerized, satiny synth slides while ringing, guitar-like notes add texture and the kick drum pulses.

The string-like synth transmits a melody that blends chill with a hint of melancholy. Then, an electric guitar cuts in with a richly bending sound, carrying dramatic emotional weight. A continually circling synth in the background adds to the growing nervousness. A xylophone flares with sunlit brightness as smoothly flowing sounds fill the distance.

The guitar cries out again, unfolding in a bluesy line that intensifies the track’s grit. The intricate solo floats and flies, cutting above the hard-punching low end. It’s compelling and expressive before refulgent bells flash once more and the drums rebound while otherworldly sounds swirl in the distance. The guitar howls with pure emotion above the bass before silence falls.

“Line of Fire” begins with a dominant kick drum and a guitar that bends with haunting portent as the background drifts with misty tranquility. The drums rebound and the guitar calls out with gentleness tinged with worry as bright, chiming notes glitter. A tiny synth light glows, creating more tension as the electric bass entangles and the guitar howls with ghostly sensations. The track paints a picture of expectant danger in the night that draws me in.

The intricate guitar cries out with spectral energy as twinkling notes dance above the interlocking bass and drum beat. Elevated notes fill the music with piercing illumination while the low end adds drive. The entangling guitar is chilled out, but beneath it lies a waiting threat. A twanging guitar adds a spy-flick element as the pounding kick drum moves.

Brightly glimmering notes exude starlight and the supporting drums and bass propel the music. Drama fills the guitar as it leaps out again, curling through the music with a flowing sensation of lurking shadow. The guitar performance is moody and complements the sensations within the song. Brilliant notes glide above the unstoppable low end as the guitar carries the track to its end.

Razor-edged synth growls beneath dreamily drifting notes with nervous tension to commence “The Final Deal.” Popping notes drift back and forth as hard-edged sounds cut through while mysterious gliding tones wander past. The drums add a steady, slow pulse while the background radiates caressing light. The synth’s metallic echo rings out above the interlocking drums and bass as slap bass notes move.

The guitar swirls into action now, creating a sense of exploding events as the xylophone’s chips of brightness trickle rapidly. The guitar is intensely energetic and fills me with a sense of unexpected reactions as the low end rebounds. Elevated, flickering chimes glitter and reverberate above the heavy underpinnings, adding a touch of lightning to the track’s dark weight. The guitar rockets through the music with intricacy and speed, contributing to the feeling of action.

The slicing, gleaming synth drifts in slowly with mournful motion as the electric bass and hard-hitting drums drive onward. A haunting synth cries out while bright xylophone spins and the heavy low end continues to pulsate. The drums pound harder as the radiant synth twirls and spectral notes levitate. Tightly wound tones add worry as the resonating synth dances above and the pounding percussion presses on. The guitar launches into life again, crying out with blues-inflected emotion while the low end surges. The wandering melodic line wriggles past with a hollow tapping as the track ends.

“Fatal Justice” begins with looming bass as a panpipe calls out a ghostly melody and resonant synth circles. The panpipe is haunting and gentle, floating above the roundly trembling synth. The drums throb as metallically glimmering notes ring out with pained emotion—melancholy and lost. The rounded notes drift on as the drums throb and the track glides forward. The ringing synth creates drama while gentle notes above roam with silken elegance.

Flaring chords climb and a bell-like synth carries a thoughtful, hurting melody that the guitar soon picks up. The guitar cries out with deep feeling, conveying progress tinged with mournful sensation as the drums rebound. I enjoy the emotional power and imagery within the music, as the melody is full of unbounded feeling. The synth radiates luminosity, the drums continue to punch and the ringing notes pierce with metallic sound as the track fades.

Jazz organ rings with bright energy as the quickly pulsing bass kicks off “Last Victory”. The organ chords shimmer with luminosity as they rise and the drums punch in. The melody is full of hope and uplift, singing out final triumph as it bursts with sunlight. I feel oppression lift as the melody pours out joyful relaxation. Freedom radiates from the metallic notes as the track pulses onward. Sweeping sounds wander past while the kick drum thumps and the bass undulates.

Effulgent notes carry feelings of release and calm before the guitar soars. My heart rises with the climbing tones that unfold from Mission 87’s fingers, liberating me from the cares of the day. The chords add scintillating light as the drums pound below. The entire track is filled with happiness and tranquility as the guitar flies along before the track ends.

Conclusion

The Deal III is an auditory journey through the 1980s in Miami. The heady mixture of danger, crime and desire weaves through each track as Mission 87 draws me into his musical web and keeps me deeply engaged with his creation.