PERTURBATOR - Lustful Sacraments

Review by KIZUNAUT

James Kent aka Perturbator is an artist that has been both genre-defining and genre-defying. From 2012 onwards he helped to establish and popularize the darksynth sound, developing his own highly recognizable style within the genre. Offering a mix of driving rhythms, gnarly synth basses, dark futuristic ambience and flourishes of synth melodies wrapped in song structures that expertly work with tension and release, Perturbator has been perhaps the most musically accomplished of the darksynth artists. It's no wonder he is among the rare few synthwave-associated artists known to a larger audience.

Perturbator's early style peaked with 2016's The Uncanny Valley, a cyberpunk-tinted dark electronic masterpiece offering the perfect mix of energy, atmosphere, passion and songwriting sensibilities. A diverse yet coherent album rooted in an expert sense of aesthetics. A true hallmark record and the perfect crystallization of the themes explored by the darksynth genre.

Having reached the highest possible peak of the synthwave genre there was only one direction to go to: elsewhere. 2017's New Model took the retro out of the retrowave and offered a decidedly futuristic take on Perturbator's style, a hyper-synthetic ultra-dark slice of futurewave with crafty synthwork and occasional bursts of synthetic blastbeats recalling extreme metal more than anything else. The result was the musical equivalent of an AI-piloted stealth bomber.

Lustful Sacraments offers another evolution of Perturbator's sound. Influenced by post-punk and the gothic music of the 80s and 90s, Lustful Sacraments is decidedly more human and retro than New Model in it's sound. While Perturbator isn't the first artist to explore mixing synthwave influences with post-punk, he has managed to blend the chimy chorus-drenched guitars and deep vocals seamlessly into his style of production and composition seamlessly. The results are tremendous, sounding instantly recognizable as Perturbator yet breaking new ground for the artist. The album also contains the most sung parts of any Perturbator album, some of them delivered by guest artists, some of them by Perturbator himself for the first time. 

Pertubator has for a long time had a talent for crafting a kind of a background world for his albums. According to an interview with Metal Hammer, Lustful Sacraments is set in a fictional city called Xanadu where everything is free and nothing is forbidden. While there might be a fantastical backdrop to the album, it sounds and feels far more grounded in real life, real human concerns, in a style and culture that has actually existed. Indeed, in an another interview with the Daily Express Perturbator stated that the album is about ”...self-destruction, how humans tend to destroy themselves through addictions, through discontent...It's not like a message, there is no lesson...it's more of a look at myself and other people, maybe, to relate”. This gives the album a rare air of truthfulness and introspection in a genre preoccupied with fantasies. While not as explosive or straightforward in it's delivery, the album's theme of self-destruction through hedonism has shades of Nine Inch Nails' The Downward Spiral in it.

The post-punk and darkwave influences can also be heard in the production style of the album. There are sections of it which sound like they could have been made in 1989. While there are plenty of modern influences, sounds and production techniques to be found, it's in some ways the polar opposite of the inhuman ultra synthetic audio wizardry of New Model. The tracks have a more rounded, airier quality to them, a darkness that's more sensual, softer and gothic than that found in his previous works. The drums recall classic 80s sample-based drum machines, the synths mostly sound like things that could have existed 30-40 years ago, and when the classic post-punk guitars come in other elements make way for them. The album hits a wonderful sweet spot between sounding modern and retro. The beats are punchy, the basses move air with real force and the production is discerning and clear while retaining a certain twilight ambience. Perturbator has done a great job fusing musical influences with production choices.

On the visual side of things, Perturbator already took a clean break from the usual synthwave tropes with New Model's ultra stark black on white aesthetics. Lustful Sacraments is more colourful, featuring an illustration of people dancing in a ring inside a structure that recalls perhaps some kind of a futuristic cathedral. The impossibly thin supports, intricate details, unusual angle and long, spindly shadows make it extremely striking and uncanny. The deep amber orange background brings life and warmth. I am biased as orange on black is one of my favorite color combinations, but I find the cover to be one of the best album covers ever made, wonderfully reflecting the style and themes contained within the album while also standing out from usual gothic tropes. The long sold out colored vinyls are especially wonderful looking artefacts.

The album begins with Reaching Xanadu, a somber instrumental that opens with deep, resonant synth hits. Soon rolling, crips synthetic beats that recall the beats from New Model join in. Swirling synths loom in the background. The track soon builds towards a crescendo, with a soaring, weepy synth string topping off the track, eventually descending in a glissando towards unknown depths. The brief intro ends with sounds of glass shattering. Perhaps the way to Xanadu goes through a bottle or a pipe.

The intro is followed by the title track Lustful Sacraments. It opens with a reverb-drenched, melancholic guitar line looming over mid-tempo driving beats and a low, constant synth bass pad. Brief vocal passage comes in, and the very post-punk influenced soundscape gives way to a more synthetic section with throaty synth hits dominating the soundscape. Soon enough the song returns to as it began, only to quickly move into a very mechanical-sounding synth passage. Synth strings sweep in before the track starts to wind down, only to build itself back up into a mesmerising swirl of guitars and synth pads. The track has a deep air of melancholy, perhaps even regret to it all. The aversion to typical verse-chorus-verse structures and the blending of various different parts carries over to the rest of the album.

Excess offers a mix of straightforward, catchy post-punk parts spliced with more synthetic sections featuring Perturbator's hallmark guttural bass synth strings mixed with airier pads. The track kicks off with a squirming bassline and metallic synth hits that recall oldschool EBM. Somber, low-key vocals about taking too much today as was taken yesterday come in before the track bursts into a jangly, catchy, instrumental post-punk section. The guitars give way to a sparse passage with shouts of ”Excess!” floating over rapid bass arps, surrounded by gliding, voice-like synthlines. A burst of guttural bass pads leads into another post-punk section, only for the rhythm to be stripped away. Shouts of ”Excess!” ringing over deep bass pads that jawn like some kind of subterranean abyss. The track evolves into a dreamy, even narcotic, hazy guitar solo, followed by a brief buildup and one last burst of energetic, driving post-punk. The track ends with an extended synth outro featuring fluttering synth arps, noisy swooshes and hollow synth sequences.There is a wonderful mix of melancholy and dark passion to be found in this very varied track, and it is my personal favorite from the album.

Secret Devotion opens with clicky, zippy synthetic beats and raw saw synths that somewhat recall Nitzer Ebb. It soon evolves into a more post-punk influenced fare. Dissonant bell synths clang over a pulsing beat, and deep vocals paint an atmosphere of gothic passion. The track builds up into an brighter-sounding passage that leads into a section that sounds almost Depeche Mode influenced. A change in rhythm leads to a somewhat sparser section with spoken vocals, synth pads and atmospheric guitars looming in the background. Another synthpop-influenced section comes in, this time featuring twinkly square wave synths and the clangy bells from earlier of the track. The track oozes with dark romance. Building into a crescendo with airy synth pads, the track starts stripping itself down only to quickly shift into end with a sinister, energetic section that recalls Perturbator's classic darksynth sound more than anything else in the album so far.

Low, bending synth pads bridge Secret Devotion straight to Death of the Soul. A squirming, sinister bass arp comes in, recalling oldschool EBM somewhat. Pained, ghostly synthlines float over the track. The beat kicks in, the bassline builds in intensity and vague vocals in russian loom in the background. The bassline mutates and ominous synth strings make a brief passage. Another vocal section comes in, followed by a very percussive part that leads into a section dominated by a swirling mass of synth pads in Perturbator's instantly recognizable style. The squirming bass returns, as do the sporadic vocals, this time with more synths added to the mix. A more percussive section once again builds to the track into it's climax, a repeat of the swirly synths strings, this time featuring brief passages of melancholic guitars before ending with a brief synth outro that descends into nothingness. The track has a very energetic, sinister atmosphere and its structure is deceptively simple compared to some of the other pieces on the album. It's easy to see why it was chosen as the lead single.

The Other Place kicks off with clacky percussions and extremely modulated synths that somewhat recall certain moments of The Downward Spiral. Soon enough they are replaced by a bit slower section that offers a mix of airy synth strings, melancholic post-punk guitars and resonant synth melodies. The track picks up energy and moves into a wonderful passage with reverb-drenched guitars casting a mysterious atmosphere. A more sinister-sounding synth passage gives way into another more post-punk flavored section with a different guitar melody that eventually leads into a repeat of the earlier section with resonant synths. The drums drop out and the heavily modulated synths make another appearance, joined in by various synth pads and a low-key, deep bassline, slowly dying down. The track explodes into life once again, and the mysterious-sounding guitar line makes a reappearance. Another personal favorite from the album.

A brief vocal sample bridges The Other Place into Dethroned Under a Funeral Haze. Opening with a mix of slow beats, melancholic guitars and high-pitched squarewave synths casting an uncanny atmosphere, vocals eventually come in, speaking of death and decay. There is a brief rhythmic and tonal shift that soon leads to a repeat of the beginning, this time with low-ley synth pads fluttering in the background instead of the square synths. An interlude follows that dances between sounding melancholic and ominous, eventually leading into an extended outro ultra-deep bass pads and clangy, noisy, rhythmic synths that give way to sad synth strings. A mournful atmosphere permeates the whole track. Eventually, the whole track fades into almost imperceptible noise.

Messalina, Messalina begins with a rapid beat that is soon joined with dramatic synth strings and low-key vocals that talk of ends justifying means. The vocals drift away and a different type of string melody comes in, only to make way for reverbing guitars that cast a very sinister atmosphere. A shout is followed by rapid-fire bass drums and dissonant ambient noises, leading into a repeat of the beginning section with dramatic strings and vocals. The variation of the string melody is this time joined by guitars, and eventually the strings drop, leading to the return of the sinister guitar line from earlier. The almost verse-chorus-verse structure gives way to an extended interlude featuring sparse, almost dissonant synth strings, airy guitars, deep synth hits and slow rhythms that dies down into nothingness, only for the track to explode into an extended outro with dark, gnarly bass pads and rapid beats that recalls a more gothic version of certain tracks from New Model. The sinister guitar line comes in one last time as an outro. The almost metal-like rhythms and majestic synth strings give the track a curious mix of dark passion and regality. 

God Says ends the album and it begins with an extended intro section featuring metallic, distorted atmospheric synths. A bright synth arpeggio and remote bass hits eventually join in, followed by dark bass pads and synth strings. After a brief pause cymbals come in, followed by melancholic guitars and soft vocals. The track is sparse and somber. The cymbal builds up a pace a bit, joined in by bending, swirling synth leads. The vocals make a return, as do the metallic atmospheric synths, and soon only the synths remain. The cymbals return and the track bursts into life, turning into an almost doom metal-like dirge, with constant buzzing bass synths serving as the backbone. Melancholic guitars glisten over the darkness, and vocals come back again, this time more passionate in their delivery, telling us that ”God says he's away”. There is almost a post-rock vibe to it all. Heavily reverbed snares roll in and the track abruptly ends, ending the album with it.

Lustful Sacraments is Perturbator at perhaps his most progressive, offering complex song structures that frequently feature sudden turns, changes and building up and stripping down of elements. There are dynamics and subtlety to be found within the music. The album is far less in your face and aggressive than his previous works while retaining a healthy degree of energy and drive. The listener's enjoyment will heavily depend on their taste for the decidedly more human, more post-punk approach presented within. Those who were looking for hard cyberpunk dancefloor bangers are probably gonna walk away disappointed.

My initial impression was that while I enjoyed the album tremendously, I found the songwriting not to quite reach the highest peaks of Uncanny Valley. But upon repeated listening and revisiting Uncanny Valley I wasn't sure anymore. The songwriting isn't perhaps as instantly memorable as it was on Uncanny Valley or New Model, but the album rewards analytical listening more than anything Perturbator has put out before. It's a wonderfully unique prog-synth-goth experience that's executed masterfully. There really is nothing like it out there, and even if it were to spawn a wave of imitators I doubt few will ever approach Perturbator's craftsmanship.

My only real complaint is that I would have prefered the vocals to be a bit more intelligible. The style itself is fine and I'm not sure if it's a mixing issue or English being my second language, but I often had a hard time hearing what was being sung. Perhaps the choice of having the vocals be more of background tapestry or instrument amongst others was a deliberate artistic one, but I found it diminishing my enjoyment ever so slightly.

Overall, Lustful Sacraments is a wonderful triumph of artistry, craftsmanship and good taste. It is also likely a polarizing album. Not only is it a major stylistic shift, the album was preceded by a scene uproar over the Metal Hammer interview which had ”SYNTHWAVE IS DEAD” as the header. While Perturbator never said so, he stated that after Uncanny Valley he felt that the scene was reaching a saturation point and that he doesn't consider himself involved in it anymore. In some ways I find it understandable and it reminds me of Trent Reznor drifting away from industrial rock, a genre he helped to popularize to seek new inspirations. True artists are able to transcend boundaries and grow, and perhaps this is simply the direction that James Kent has chosen to grow to.

At the same time I am saddened, as I believe and hope that the scene could and should incorporate a diversity of sounds and styles. In a scene filled with ”fan” groups chock full of inane and tedious ”debates” over whether synthwave can have vocals or guitars or piano or sax in it and ”curators” procuring playlists full of samewave bass arps hammering away as background noise for gaming sessions, Lustful Sacraments should serve as an inspiration to aim higher, a lighthouse burning with dark light, a promise that limits can be transcended and true artistry can be reached.

For more Perturbator, visit: perturbator.bandcamp.com

NINA: A Synthwave Icon

By Vero Kitsuné

German artist, singer-songwriter and producer Nina Boldt, or simply known as NINA, has been captivating audiences with her effervescent and pastel-tinted romantic tracks that celebrate the sun-kissed, delicate side of the neon-soaked spectrum of the synthwave genre. Taking inspiration from the ‘80s era, NINA’s approach to her craft carries a distinctive motif that is tastefully nostalgic sans the campiness often associated with nostalgia music. Her approach is painterly in nature with refined brushstrokes, combined with impeccably emotive vocal delivery, thoughtful lyricism, and just the right amount of fine glitter. Her marquee track “Beyond Memory” is considered a synthwave essential and has helped seal her seat as synthwave’s true Golden Girl and fixed icon, being one of the first female artist-producers leading in the genre.

In September 2019, I had the honor of personally getting to know NINA when she and fellow synth pop artist Parallels flew to New York to kick off their North America tour starting at the Knitting Factory in Brooklyn. Italo-disco and synthwave dynamic duo - and my perpetual stage comrades - Bunny X and I (as CZARINA) served as hosts and opening acts during that memorable evening, when the synthwave community coming from different parts of the country all pooled into the halls of the Knitting Factory to experience a rare, historic all-female lineup headlined by the synth queens. During that period, I discovered what is truly striking about NINA is how she is true to form to her music and her image. Despite of her success and achievements, NINA is remarkably gentle-natured, low-key and unassuming, which is often a rarity in this day and age. Yet behind the doe-eyed, delicate golden frame is a seasoned superstar that easily commands the stage, the spotlight and the hearts of her adoring fans and peers - her “Synthians.”

In anticipation of her upcoming trilogy of new releases this summer, I recently caught up with NINA to discuss all the basics behind her story, the array of changes and growth since her last tour and the release of her sophomore record, Synthians.

So Nina, for those who are new here, please tell us where you are from and how did you initially get into music? When did the NINA project first start?

I was born and raised in Berlin, Germany. I started singing at a very young age and at 15 I started taking classical vocal lessons. By the time I was 18 I was a backing singer touring and performing at various TV Shows including “Top Of The Pops”. This is when I developed a taste for performing and truly got hooked, or as we say in Germany “I licked blood”. Ha.

At age 20, I decided to widen my horizon and move to the UK where a lot of my musical idols come from, like Depeche Mode, David Bowie and Queen. 

Living in London really inspired me, because it’s filled with pop culture and I met so many interesting musicians who helped me along the way and taught me a lot about writing and production. “We Are The Wild Ones” was my first official Single, released in 2013.

How long have you been writing and producing?

I started writing lyrics and poetry when I was about 12 and began my career as a performing artist in my 20’s. I eventually got into the production side of things in my 30’s and now have my own studio in Berlin.

You are known as one of the first female pioneers and a fixed icon in the synthwave scene. “Beyond Memory” continues to be a strong staple in every synthwave playlist among “Automatic Call” and many others. Tell us what brought you to the ever-growing popular nostalgia genre?

I’m an 80’s baby, so I naturally love Pop Culture from that decade. I always liked the idea of reliving feelings from my childhood, while creating something new with my own music. When I lived in London, I noticed a retro-modern flare in the indie music scene that was very 80’s. This was somewhere between 2010 - 2015. It suited me, so I went with it and by the time “Beyond Memory” came out, this wonderful new genre called “Synthwave'' grew and the people of the scene embraced me. I have felt at home “ever synth” ;) 

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?

Freddie Mercury (Queen), because he’s larger than life. Jim Morrison (The Doors) for his lyrical oeuvre. John Carpenter for his iconic horror movie scores and Nena for her vocal talent and raw power. I love horror movies and I’m really into ghosts and the supernatural. I write a lot about longing for another reality whether it be past, present or future. All of this combined has helped shape my music.

Please share with us what your first full-length record, Sleepwalking, and your second full-length record, Synthian, are about. How have you grown creatively, emotionally and artistically between the two major offerings. 

“Sleepwalking” explores love, betrayal, memories, breaking free, loyalty and the realm between reality and dreams. With the success of this record, I connected with so many amazing fans and I met so many great artists during my tours. This experience ultimately inspired my next record “Synthian”. 

“Synthian” is a more immediate record. So, rather than writing a song about what has happened to me, I was writing about what was happening to me at the moment. For example I wrote “The Distance” as I was falling in love and “The Wire” is about the urgency of time and the importance of maintaining a meaningful connection. And of course the title track “Synthian” is a love note to my devoted fans.

Through all this experience, I’ve learned so much about music production and I’ve become a much better songwriter. I used to be a very shy artist but now I feel liberated and bold in my creative process. My new upcoming songs are more raw, hands-on and emotionally charged.

You recently turned a major chapter, struck out on your own and are now working independently. What direction do you see your music going into and what does the future hold for NINA?

Without getting too specific prematurely, I definitely think I’m going to take more creative risks and will experiment with new ideas. I’d like to challenge my own voice and sing in new ways. I’m working on a special collaboration project with Radio Wolf. It’s very cool. We’re messing around with all kinds of sounds. It’s electronic, it’s rock’n roll, it’s experimental. It’s fun to combine our mad brains. I’m also working on my third album aimed for a 2022 release. 

What do you think is the future of synthwave and where it is going?

I honestly don't know. Everything is so unpredictable. But my hope is that it’ll have a long lifespan and grow, not just in reach but also in creative ideas. And as much as I love the 80’s, there are great musical ideas of every decade to explore. 

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

Keep creating! Make music because you love it, be true to yourself and hang in there.

I’m inspired by my collaborators. It’s special when creative worlds collide and marry into one. Stay connected; I look to my fans during tough times. They give me hope when I need it the most. 

Do you have new releases coming soon? Please tell us about it. 

I’m releasing a trilogy of new Singles this summer; produced by electro-rock auteur Radio Wolf and songwriting legend Ricky Wilde. For all the latest news, subscribe to my mailing list: www.iloveninamusic.com.

In 2019, we had the honor to experience the Automatic Gold tour with you and Parallels. And we know you still have the show scheduled with Ollie Wride coming up. Any tour plans slated for the future once it’s safer to travel again?

Yes, Ollie’s show is on December 5th and then I have a show in Berlin with Adam Is A Girl on Dec 18th. Then Hotline Bristol on June 4th 2022. There is another big Festival planned for late 2022, which I can’t announce just yet but it’ll be big. In the meantime, I’m gonna be spending a lot of time in the studio creating and when the time comes, I will launch a new and updated live experience.

Anything else you would like to share? Last words to your fans?

Keep burning bright, Synthians.  

For more NINA and to keep updated with her new works, visit iloveninamusic.com

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