THE GOLDEN AGE OF WHITNEY TAI

One of our own favorite discoveries is Los Angeles-based artist WHITNEY TAI. Her cinematic blend of electro-pop, rock, and alternative metal is powered by her velveteen, honey-coated soaring vocals along with fine art imagery. The New York City native also balances her time as an architect and designer which explains the delicately-crafted visual periphery that accompanies her lush, expansive sound. She recently released her brand new full-length LP, APOGEE - a transportive and emotive 10-track offering that blends sublime, atmospheric harmonics with her own brand of modern pop rock edge and a touch of ‘90s alternative nostalgia. Her vocal style reminiscent of Sarah Mclachlan, Chromatics, Goldfrapp, Tori Amos and even at times, the late Scott Weiland, carries a wide dynamic that showcases effortless power and control - especially most evident in her tracks “Surrender,” “Righteous” and '“Electrified.” ABSYNTH got to sit down with Whitney and discussed all the details behind her unique and compelling artistry.

How did you initially get into music? 

Whitney: Music really chose me. My parents said as a baby, I would hum and sing nonsense words or dance to music and already felt I was musically inclined. My dad played singer-songwriter and classic rock songs on guitar in the house every night and we would practice together all the time. From writing really deep and painful poems / songs from age 7, it was sort of this natural progression into performing. I began to partake in school talent shows, plays, seeking private music instruction and performing  until it led me to the right producer for my first single. It was tough at first because my initial stage fright was super legit.

What is the story behind your recent latest release, Apogee?

Whitney: Apogee is like being in my backpack the last few years. I wrote these songs over the span of 2 years of leaving my home city of New York and relocating across the USA. I wrote a few of these tracks when I lived in Portland and the rest in LA. I was struggling for a while to find the right way to describe what I had experienced with all the loss and abuse I was wrapped up in but after a late night conversation with my co-writer Emer the evening we wrote Incantation, I described I’d been in pain for quite some time. I explained how I had been putting myself second to tend to the needs of those who needed me and these tracks were my detachment from that pain, feeling like a revolving satellite or observationist that finally got a moment to just be. Apogee is having clarity, suspension and resolve to reflect on traumatizing emotional stimuli the universe tests us with. 

How long have you been producing music and tell us about how you got started and your history?

Whitney: I love crafting songs, been doing it since I was old enough to remember. I love everything about it from exploring verbiage and word relationships to the mechanics that make up the composition where I can explore my fascination of rhythm, tonality and dynamics. I especially love how certain notes and chords can invite a certain type of word and its shape. It’s probably why I later went to study architectural design, form and function are beautiful processes I continually want to move through. 

Who are your musical influences and heroes. Is there anything in particular (whether it’s a film, event, occasion, era) that has shaped your creative perspective and stylistic direction? 

Whitney: I would say I am very much shaped early on by artists like Pink Floyd, Bill Withers, Sarah McLachlan, Michael Jackson, The Police, Celine Dion and Fleetwood Mac. Once I got into my young & angsty teen years, I noticed I was really into metal, alternative rock, trance, R&B, and house music, listened to a lot Tool, Killswitch Engage, RA, Alice in Chains, Chris Cornell, Metallica, Linkin Park, Korn but loved electronic acts like Paul Oakenfold, Oceanlab, Portishead and The Chemical Brothers.

What got you into electronic music?

Whitney: One year when I was on a vacation in Pompano Beach, I met these two really cool teens from Argentina who shared a playlist with me of some really dope Pop Italo-disco dance music and I felt my ears explode with excitement since I hadn’t heard synth sounds like that before. I loved the beats, melodious voice and leads and the way the instrumentation or production sort of lifted you out of reality into another hyperreal dimension. I’m pretty sure I had heard other really cool electronic music prior to this that impacted me but for some reason this stands out. 

What direction do you see your music going in the future?

Whitney: I think as all art does, it evolves away over time from the unnecessary into the purest form of itself before it reincarnates into the next body it needs to manifest a new experience. I’m just a humble servant and the direction I intend to go is where my crazy life and love for all of creation can guide me. It began as a seed of love and connection and I wish for nothing more than to always further and deepen that bond.

Do you plan on touring (as soon as the pandemic gets under control)? Dream lineup and co-bill?

Whitney: It’s definitely on the top of my list of priorities once it becomes safe again. My dream lineup or co-bill would be something like: Interpol, Moby, Bjork, Stone Temple Pilots, Goldfrapp and Aurora. Eclectic, emotional and ethereally themed.

What would you say is the most important thing about being a musician today and what continues to inspire you and drive you?

Whitney: In 2020, a time when our world of liberties and freedoms are deeply pressing with urgency for change, music is still a tool to speak powerful wisdom to our contemporaries. Music is communication and connection. It’s a living, breathing organism that allows artistic expression to be consumable. What drives me is the 8 year old girl inside who cared about making the world a better place by being a confidant to others through creating something meaningful that makes others feel less alone or less valuable in this big ole nutty place.

Do you have new releases coming soon?

Whitney: I am currently working on some new solo songs that are stripped, dreamy and super intimate that I’m really excited about. I am also working on the very first single in my new dark mood rock project, The 1905, which we are pushing hard to have out by the holidays. Few interesting collaborations in the fire too. Music video stuff too, lotta goodies =)

For more Whitney Tai, visit www.whitneytaimusic.com

Dance My Darling - “Kathedrale”

Moscow, Russia-based Darkwave and Goth Electro duo DANCE MY DARLING unveil their latest dark audio-visual offering, “Kathedrale.” The gothic dance track - all written and sung in German - circles around themes of witch hunts, heresy, purgatory and fiery salvation. The music video, stunningly shot in atmospheric locations in nature, is both a modern interpretation and commentary of the days of the old when religious faith intertwined with archaic demagoguery reigned supreme without compromise. The darkwave duo both captivate and entrance audiences with their own brand of dark magic.

DANCE MY DARLING was created in 2019 by Roman Munster, former frontman of the Russian gothic metal band “Maestro Nosferatu” and Alexandra Snork, the keyboards of the Russian post-punk band "Gruppa Hmuryi.” Dance My Darling spans many genres from electro-pop and dance music to darkwave and post-punk / gothic rock, exploring the expanse and versatility of Roman's vocal prowess matched with words and lyrics transcending topics of love, sex, alienation and death.

For more Dance My Darling, visit http://www.dancemydarling.com

ARTIST SPOTLIGHT: SUNESIS

SUNESIS is Melisa Blomberg, a rising synthwave and electronic artist-producer originally from Argentina now based in Barcelona, Spain. When not dabbling with modular synths, SUNESIS works as a full-time doctor in Clinical Research. It’s amazing how she balances time and passion in music, as without a doubt, one of the finest releases this year is her EP, Music for Space Stations - A dreamy, delicately executed collection of lush crystalline synths rushing through waves upon waves in several beautiful, stunning yet soothing textures and layers. Loosely woven downtempo structures with some funk and jazz elements, her unique soundscape comes with hypnotic, dreamy vocals reminiscent of Portishead and Massive Attack (by the way - we also get a surprise cover of “Teardrop” as part of the EP) that would sweep you to outer space as you relax before your next space jump. “As SUNESIS, I am able to give structure to ideas, feelings and dreams. My project is also my therapy.” Some might describe her music to have influences of Massive Attack, Cocteu Twins and Boards of Canada but SUNESIS gets a lot of the cerebral qualities of her music and songwriting from Led Zeppelin, Tool, Radiohead, Porcupine Tree and others.

“Music For Space Stations is about introspection and I couldn't find a better way to describe it than imagining being in space for a long. long time. My music is based in the future but it is never dehumanized.” Whatever the future SUNESIS pictures, you can count all us in for the next space ride as long as she is piloting and provides the soundtrack.

Recently, SUNESIS released a new single and music video called City of Sirens. A poignant piece cradled in sweet nostalgia inspired by ‘80s Japanese pop from classic Animes. The song echoes the importance of friendship and family during difficult times, as the world adapts to a new normality and with time as truly the most valuable currency. The music video - all casually filmed with a GoPro - reveals candid snapshots of the artist amongst friends spending a beautiful summer day out on the beach and in the ocean, mirroring the authenticity and her genuine message and fervor of her art and what she stands for as an artist - a seasoned and polished producer who’s not afraid to dive into depths and can appreciate raw qualities.

SUNESIS’ delicate perspective, her wide range of exceptional influences, and genuine approach to her craft and her intent with her art truly make her a rising, special gem in the electronic music scene.

For more SUNESIS, visit her Bandcamp.

ROGUE VHS - Unique By Design

Emerging UK-based synthwave artist ROGUE VHS recently has been making waves with his latest synth and cyberpunk offerings and collaborations. We caught up with this synth maestro in anticipation of his new single “Unique by Design” and got the scoop behind the name and what drives the atmosphere behind his vision and sound.

What is the story behind “Unique By Design”?

I always try to imagine a physical scenario when fleshing out an idea into a fully-fledged track, and then hone in on specific words and moods I want to express. In this case, during the early writing stage, I could vividly picture someone staring wistfully into the distance on a long car journey. They feel mixed emotions, but primarily nostalgia and uncertainty. The working title of the track was 'Look Back (Unique by Design)' but I decided to cut back to just 'Unique by Design', as I prefer to let the listener judge the emotive qualities of my music for themselves.

How did your artist name, Rogue VHS, come about?

I can't quite remember how the name came about. However, I do know that it was a lightbulb moment. I chose the word 'Rogue' as part of my artist name as I've always felt somehow different from others- something that carries over into my work. After reaching the level of technical competence I strived to achieve for years, I felt I was finally ready to carve out my own space in the music industry. My primary goal as Rogue VHS is to confidently and unapologetically beam my ideas far and wide.

How long have you been producing music and tell us about how you got started and your history?

I first downloaded FL Studio when I was around 14- twelve years ago. Making bleeps and bloops. Dubstep was my first passion, but I wasn't technically proficient. From there I journeyed through the UK underground music scene- D'n'B, Bass House, Grime, then onto Electronica and EDM. My favourite artist then was Feed Me and I'd say he still ranks fairly high on my top ten artists of all time.

After a brief hiatus in 2012 I took my undergraduate degree in Audio Technology and went on to graduate with first class honours from my Master's Degree in Audio Technology. I largely attribute my confidence in my work to that one year of study. I have spent a lot of my free time since then writing music of varying styles- ranging from orchestral music to scoring film and television.

Who are your musical influences and heroes. Is there anything in particular (whether it’s a film, event, occasion, era) that has shaped your creative perspective and stylistic direction.

I'll break this down into the artistic and technical influences. In terms of artistry, I am obsessed with TOOL and draw a lot of inspiration from them--and in particular--their apreggio-orientated style of composition. I'd say they're also my heroes too. In terms of technical influence and production style... it's really a mixture of everything I've ever listened to. I listen to a lot of Djent and D'n'B and so I'm very percussion-orientated, and I love a big kick drum.

As corny as it sounds, I draw most of my inspiration from myself. I have very clear ideas nowadays when it comes to my sonic direction.

What got you into synthwave?

In 2018 I heard VHS Dreams' 'Nightdrive' for the first time. I remember thinking that it perfectly encapsulated a contemporary spin of the 80's sound. At that moment, I decided to pursue my long-dormant goal of establishing myself as an artist.

What direction do you see your music going in the future?

I am very much hoping that I remain on the path I am now- and continue writing synthwave. I have huge respect for artists and bands that are able to innovate while still remaining true to both their roots and their fanbase. I absolutely HATE seeing artists double-back on their fans by releasing wildly different music. If you don't enjoy writing that style anymore, then why not call it quits--or at least--write under a different moniker?

Do you plan on touring (as soon as the pandemic gets under control)? Dream lineup and co-bill?

I only started Rogue VHS in January, so I feel things have moved incredibly fast since then. While I absolutely intend to tour when the world opens up again, I feel I need to establish what my shows would actually sound like. The reason for this uncertainty is that I don't actually play an instrument--rather--I used to DJ frequently. My sets would predominantly be focussed on that.

As for my dream line-up, I love heavy bass music and so I'd love to innovate some kind of mashup between dreamy synths and heavy basslines (I'm not talking about some airy-fairy bass guitar, I mean the super-artificial and surgically-produced rave music that makes your bones shake). In terms of artists, I'd love to play alongside Tonebox and Enei. Perhaps even Savant.

What would you say is the most important thing about being a musician today and what continues to inspire you and drive you?

The most important thing about being a musician today is to be VERSATILE. If you're running solo, you're a one man band. Any skill you think you might need to succeed--chances are-- you're going to have to learn it on your own. That includes self-promotion. I see a lot of people (myself included at times) put learning on hold to focus solely on writing music. That won't cut it anymore. Get grafting.

My inspiration comes often and in small quantities from the little victories and milestones I reach- each time compounding and growing my confidence. Celebrate any win, no matter how small!

What is next for Rogue VHS?

Good question. Not sure even I know the answer to that. Once my profile is more established, I want to spend time on an EP, or perhaps a concept album. I couldn't give you a date, though!

As for the style of my up-coming tracks, expect more of the same. Synthwave and Cyberpunk, with a hint of Spacewave.

Keep yourself up to date with ROGUE VHS and follow him on Spotify and Instagram.