MICHAEL OAKLEY - Odyssey

By Vero Kitsuné

Scottish synth artist and producer Michael Oakley recently dropped one of the most highly-anticipated records in the synth scene, entitled Odyssey. A stunningly pieced 8-track masterwork that takes the audience into a reflective journey that is true to its title. Michael digs deep and offers a sincere reminder that artistry can be perceptive, emotive and still catchy at the same time. Whether this was a conscious decision or not, Odyssey is refreshingly transcendental in nature and thrives in its inherent intellectualism in songwriting, while still charging along with its tasteful and modern choices in its soundscapes. Michael, whose blossoming career initially took deep root in synthwave and ‘80s-inspired retrowave, gracefully crosses eras into the early 90s genres while still keeping one foot in the nostalgia that shaped his sound.

Odyssey kicks off with a nod to new age with an epic title track intro that features cathedral-like vocals, before swiftly progressing into the anthemic pop-rock track Wake Up! (co-written with Ollie Wride) that delivers feel-good and worldly vibes reminiscent of Peter Gabriel’s work. The record bounces further up into the ‘90s club kid dance track Is There Anybody Out There, which was the first dynamic single released from this body of work. However, it’s the track Babylon that shows Michael’s writing prowess and brilliance, relating ancient biblical passages and themes of heaven with finding love - a task that is difficult to pull off, yet he does so with George Michael type of nuanced finesse, crescendoing into a glorious saxophone solo. Babylon is followed by a stunning ode to Michael’s hometown: Glasgow is a very emotional duet with another synthwave great, Dana Jean Phoenix, that features a spectacular bagpipe performance that would shoot chills down your spine. The Peter Gabriel-type vibes and dynamic choices in percussion sounds and melodic hooks make a return in Real Life, a song that laments over struggles in love, and - well, real life. Michael’s signature shimmery arpeggiated synth soundscapes are reprised in Queen of Hearts, which gradually picks up tempo into a riveting classic synthwave dynamics. Michael neatly finishes and ties up the concept of the record’s epic journey with another ancient reference: The Greek myth of the winged mortal Icarus getting close to the sun in When Stars Collide.

To wrap up, we sat down with Michael to discuss more in detail of what went into the creation of his very brilliant Odyssey.

How and in what ways would you say you have grown and evolved since Introspect that is reflective now in Odyssey as an artist? Any shifts in perspectives and also how you approach your sound?

With Introspect I wanted to pay homage to the music I listened to as a kid like Pet Shop Boys, Depeche Mode & New Order. Overall it was an 80s Synthpop tribute album combined with my modern take on it. Then after Introspect I wanted to make something that had more of a mature, moody, ethereal like quality. I’d like to think that Odyssey shows the other side of the 80s and early 90s that I love in artists like George Michael, Peter Gabriel, Phil Collins and Sting. That mid to late 80s MTV era when AOR Rock met Synthpop and drum machines. Every time I approach making a new album I have certain guidelines I set myself in what sound I’m going for. I need to be constantly challenged in my writing to push me out of my comfort zones into something that even I don’t really know what I’m doing until after it’s done. I like to be surprised!

Which artists and eras have been the most influential to you in the development of Odyssey?

George Michael, The Blue Nile, Enigma, Phil Collins, Chicane to name a few. There’s been some more 90s influences in my sound this time around along with my 80s love. I feel like the 90s hasn’t been explored enough in the Synthwave sound.

Where do you see your sound going from this moment into the future?

Honestly I’m not exactly sure but I’m starting to feel different directions that I could potentially take. I’m just relieved to know inside that I’m excited about writing again actually. There’s always a concern for me that one day after finishing an album I might not feel like ever writing again but right now I feel like I have something to say, even if I’m not sure exactly what just yet! It’s all about that burning desire to be creative and express yourself and that always leads you down the creative rabbit hole.

Many consider you as one of the pillars in the synth and electronic communities, any advice for artists who are still finding their paths in music?

The best advice I ever got was from my mastering engineer Pete Maher who said: “Enjoy yourself and make the music you love. Then if other people like it too it’s a bonus, but don’t try to please others above yourself. That includes labels and managers. If six out of ten people think you’re great but four hate you don’t dwell on the four that hate you. Desensitize yourself from criticism, especially if it’s nonconstructive. Be careful with contracts that tie you down, especially if there’s no financial support. The devil is always in the detail so protect yourself, especially with the publishing. This is a ruthless industry so it pays to be an optimistic paranoid. Good luck with it all. Stay focused.” I’ve always remembered that as being something I’ve had to constantly remind myself of and something important to pass on to others.

When are we gonna get to see your livestream performance?

Hopefully in August if all goes well! I’m planning on filming it in July and have been working out the set design, venue and choreography so that everything is looking the way I want it to. Just need to decide on what songs now!

And finally, since we love artists with style, your favorite designers? :)

All Saints all the way baby! Been my favourite clothing brand to wear for many years now. I also am obsessed with the TV show Miami Vice and I try to find stuff I see on that show in thrift stores, vintage shops and on eBay. Believe it or not the tuxedo outfit I wore on the Introspect album cover and also the silk green bomber jacket and Boy London T-shirt I wore on the Odyssey album cover were all found in thrift stores for less then $50. I’m like a magpie when I see something I like.

Keep updated with Michael Oakley and visit Michael-Oakley.com

VH X RR - A Sky Full of Ghosts

By Reese Rowe

When you look up at the stars in the night sky, you are actually looking into the past. Much of the starlight you see started its journey to Earth long before you ever existed. Looking towards the future while examining the past is what A Sky Full of Ghosts, the latest EP from electronic duo VH x RR explores. 

As a follow up and companion piece to their 2020 debut EP, The Persistence of Memory (Lakeshore Records), A Sky Full of Ghosts also takes its name from an episode of the documentary television series Cosmos. Built off themes from the series, the five new songs tell stories of the past, the present, and the future, that manage to be both universal and intimate. 

In "Somewhere in Time,” our protagonist is failed by the present and nostalgia but finds comfort in the idea that in another time or in a parallel reality, they are living their best life. 

“The Speed of Light” looks to the future when Earth has descended into environmental chaos and the journey in search of a new home begins. Rowe’s bleak, dystopian lyrics are beautifully balanced by Hertzog’s uplifting production, creating a sense of hope for the listener. 

Hertzog says, “The Speed of Light went through many transformations before arriving in its final form. After Rob sent me his vocals, I realized the verses needed a more gentle balance to convey the aspirational love element. I added airy strings in the verses, with the music beginning to intensify before the chorus finally crashes in a frenzy. And finally, the fortissimo ending, which for me sets the scene: you’re in the cabin of your craft, hurtling through space, tears streaming down your cheeks, hopeful for the future, traveling at The Speed of Light." 

Tracks “Silent Eyes” and “Rumours” examine human nature and past relationships with a fly on the wall view. 

The EP closes with the epic title track “A Sky Full of Ghosts” celebrating the heavenly time machine that humans have looked up to in wonder since the dawn of time. Some ancient tribes believed that stars were the ghosts of their ancestors, and it was this idea that helped Rowe find a more personal side to a song filled with scientific theory.

“As fascinated as Von and I are about space science, I didn’t want the song to simply be about stars” says Rowe, “I also wanted it to be a tribute to the people in our lives that we’ve lost. Von lost his Dad in 2013, I lost mine in 2018, and next year is the 30th anniversary of Sean Rowley’s death. They were all very much in my thoughts while writing the lyrics, and the piano melody is a musical tribute to Sean.”  

With the release of A Sky Full of Ghosts, VH x RR have sent a set of deep and personal songs out into the universe. The EP displays growing maturity in songwriting and production, and showcases the progress of two artists on their path as long-distance collaborators. Fans of their previous work, or any fans of all things synth, will love this EP.

Now Available on all platforms.

About VH x RR

VH x RR was founded in 2016 by Kent “Von” Hertzog and Rob Rowe after a meeting set in motion by an intelligent machine known as Google Music’s algorithm. 

Hertzog was working on a track with INFORMATION SOCIETY (2018’s “Nothing Prevails”) and his own synthwave-adjacent material for his VON HERTZOG project. He was listening to INSOC when the algorithm recommended CAUSE & EFFECT’s major label debut album, Another Minute. 

“I instantly fell in love,” Hertzog says. “Rob’s voice was sublime and the melodies he chose… it all felt like it spoke directly to me.”

Hertzog reached out to Rowe on Twitter and essentially cold-called him to see if they could work together. They got along well, realizing that their lives had a lot of parallels—both were working for themselves in the ad world and both had in-home studios that allowed them to quickly sketch ideas and share them remotely.

Since the initial virtual meeting, the duo have developed a process for collaborating. Von Hertzog sends an initial musical idea to Rowe who then writes the lyrics and vocal melodies. Scratch vocals are recorded and then sent back to Hertzog. The pair then bounce ideas back and forth until the arrangement is complete. While Hertzog refines the production and shapes the song’s sound and texture, Rowe records final vocals which are then dropped into the mix. 

“Working in separate studios gives us the advantage of being able to work simultaneously on different elements of the song. Once the structure is worked out, things come together really quickly.” says Rowe.

VH x RR are currently working on their third EP due out some time in 2021. For more info, visit vhxrr.bandcamp.com

SILICON EMPIRE - New Paradigm

Album Review By Kizunaut

Turkey is not a country usually associated with synthwave, but Silicon Empire's second album New Paradigm might just be enough to change this perception wth it's envelope-pushing mix of darksynth, breakbeats and Blade Runner inspired athmospherics.

The man behind Silicon Empire is one 19-year old Emirhan from Istanbul. Silicon Empire has previously released one album, A Journey into the Network, one EP, Umut, and one single, Wired, from 2020 onwards. Emirhan has been playing the guitar since he was 6 years old, but in this album the guitar takes second place to electronic instruments, serving variously as lead, rhythm and atmospheric elements.

Describing the album as being about struggles with dependence on technology, confines of urban life and depression and the desire to live a fulfilling life, Silicon Empire sees the album as being a kind of ”anti-retrofuturist manifesto”. Current technological and social paradigms are consuming us, he says, and thus we need the titular New Paradigm. The album might be instrumental, but the inspiration and thought behind it all does shine through in the eight tracks contained within.

Musically the album does indeed fall to the more future-oriented styles of synthwave. There is rather little anything retro here. The closest comparisons would be Perturbator's Uncanny Valley for the overall style and atmosphere and Dan Terminus' Last Call for All Passengers for the combination of synthwave with rhythms and beats not usually associated with the genre. When it comes to compositions the album is very competent and engaging. There is no dull moment here, no 16th note basslines idling away aimlessly and no filler. The style is extremely evocative of Perturbator, and if you enjoy his work and cannot wait to hear more of it, this album will more than well serve you in the meantime.

On the production side of things the album is loud, hard and futuristic but with enough room for atmospherics. It's all mostly competent, but there are occasionally muddy moments and few tracks could have done with a bit different mixing when it comes to drums. Two of the tracks also contain very digital sounding crackling in the background with sounds more like a DSP artifact than something the artist intended for atmosphere. The occasional production-side hiccups however were not severe enough for me to diminish my enjoyment.

Silicon Empire's desire for a new paradigm seems to have extended to the aesthetics of the album, too. The cover art is of schematics of network cables and a sliver of human face on grey background, with two dark cyan lines cutting through the middle, containing the names of the artist and album within them. It does not fall within the usual cyberpunk trappings and is a fresh and stylish aesthetic. I think it would look fantastic as a physical item printed with a more silver-toned background.

The album opens with the rapid-fire, resonant arps and synth strings of 202X Ad, which could be an intro to a typical darksynth track. However, when the hard and fast breakbeats crash in all preconceptions of this track or album being a generic fare are shattered. The track brims with futuristic energy and dark passion with soaring guitars adding flavor and human elements to the potent mix of cyberpunk electronics. An amazing opener that gets straight to the point and my personal favorite from the album.

Electric Hydra opens with a synth arp pattern before shifting into a mix of rolling synthetic breakbeats, chunky rhythm guitars and deep growling synth strings. After an atmospheric interlude the track builds its energy back up, this time accompanied by high-pitched, ethereal lead, perhaps a synth, perhaps a guitar.

Raised by Machines is another track propelled forward by powerful breakbeats, but is a bit more atmospheric than the 202X Ad. It opens with futuristic ambience over rapid beats and from there on moves to alternating between darksynth-inspired synthlines and more floaty ambient synths accompanying the beat. Guitar comes in, serving in a lead role. After a breakdown the latter half of the track features and extended synth lead solo and eventually the whole track fades out.

Global Nervous System opens with a slower kick-snare pattern accompanied by the occasional industrial-like clinging of metal. With a straight beat this could easily have been an early Perturbator track, with its mix of dark rhythm synths and futuristic pads. Guitar is featured somewhat more prominently here than on the previous tracks, serving in both rhythm and lead roles. Silicon Empire displays his soloing chops here, all done in a very tasteful way. The middle section features a solo with somewhat Middle Eastern flavor, perhaps the only hint to the country of origin of this album.

Rain and Concrete is a wholly atmospheric piece, with only a clicky snare and a bright cymbal serving as drums in this track. Reverb-drenched saxophone, piano chords synth strings conjure a very Blade Runner-esque atmosphere. I enjoyed the composition and atmosphere, but I found the cymbal too loud compared to rest of the instruments and the occasional production artifacts somewhat distracting.

Mechanized begins with deep, growling synths before shifting into darksynth inspired track with a thudding kick-snare rhythm. Guitars eventually swoop in, this time in a more atmospheric role. Chimy arpeggios bring flashes of brightness to the otherwise very dark track.

Godless Prayer is another more ambient-oriented track, this time using guitar and synth arps as the main elements. Deep bass hits and snippet of vocal-like synths add variety. After the halfway synth strings arrive. It's wonderfully atmospheric, somber and beautiful, but also contains some distracting crackling at times in the background.

Phoenix is the final track of the album. A resonant sweep and a hopeful-sounding passage of synth strings and twinkling arpeggios opens the track, leading into a chugging darksynth-inspired tune. Brighter elements hover over the bassline. Guitars join in, switching between lead and rhythm roles. The track builds up to a synthetic blastbeat with guitar shredding on top of it, and eventually brings itself back to a more slower pace, this time with new atmospheric elements and a brigh square lead arp joining in. The track ends with a brief atmospheric passage and the album comes to a close.

Overall, the album is highly recommended for fans of cyberpunk, darksynth and listeners who want to hear synthwave that is willing to break the mould. Fans of Perturbator and Dan Terminus' latest offering will surely enjoy this album. Despite the occasional production hiccups the album is extremely solid, both on the level of individual tracks and as a whole. Silicon Empire has proven himself an artist to keep your eyes and ears on.

For more Silicon Empire, visit siliconempire.bandcamp.com

MIKE TEMPLAR - Black Lodge

Swiss synthwave and electro musician, MIKE TEMPLAR unveils his first vocal retro electro offering, Black Lodge, the new single from his upcoming album "Digital Death" which is a fusion of new wave, French house, funk, electronic rock, synthwave and goth. "Black Lodge" is also Mike Templar’s vocal debut. The single is now available on Bandcamp and will be released on major platforms on June 12.

Based on David Lynch's and Mark Frost's "Twin Peaks" series, Black Lodge is a reminder of how easy it is to get swallowed up by the dark side as one forgets to nourish their soul, and a reminder of the value of love and its timeless values. “Fight back and fight off lending energies to narcissists and those who don’t value you and your time, so that the light in all our souls and our successors remains illuminated,” Mike Templar explains. Funky and groovy, dipped in French house, blog house and reminiscent of early Daft Punk and MGMT, Black Lodge surprises with its unique vibe and expressive undulating synth and riveting guitar performances under Templar’s distinctive vocal work.

The full length album “Digital Death” will be released in the summer, featuring vocals from several guest artists, as well as some guitar interludes by Mike Templar himself and a sax solo number by his father.

Known for his nuanced instrumental works, Mike Templar’s musical range and palette transcends several electro genres. His notable works include his dystopian sci-fi electro opera TROM, an 18-track masterpiece featuring lyrics and vocals by Millenium Falck and an accompanying novel about a group of rebels fighting a political federation. His last single prior to Black Lodge and forerunner to his upcoming record, entitled Digital Death showcases more of Mike Templar’s cerebral and prodigious approach to progressive electronic composition.

For more Mike Templar, visit miketemplar.bandcamp.com