KIZUNAUT 09/08/2021 KIZUNAUT 09/08/2021

CODE ELEKTRO - Live At The Radar Station

CODE ELEKTRO is the synthwave project of Martin Ahm from Denmark. From 2015 onwards he has managed to build a global fanbase as well as reach critical acclaim within his home country. Stylistically, Code Elektro has leaned on the more soundtrack-inspired side of synthwave, citing the soundtracks of movies such as Blade Runner and TRON: Legacy as an inspiration. Describing his music as “Dystopian science fiction atmospheres, neon Skylines and eternal cyberpunk nights with acid rain,” Code Elektro does indeed deliver in science fiction ambience. His albums seem to have certain theming to them: 2019’s Never Mind the Solar Wind had a decidedly space-oriented sci-fi sound to it, while 2017’s Triad had a kind of asian flavor to it.

As one can surmise from the title, Live at the Radar Station is however a live album, a rarity in the synthwave genre. Gigs in themselves are a rarity in the era of Covid lockdowns, so this album is a rare creature indeed. For the performance Martin put together a live band, with a guitarist and a drummer joining him onstage. The performance was recorded in Radar, a venue in Aarhus, Denmark, giving the album its name.

Performing and recording live music is wholly an art of its own, and the team involved with this effort has succeeded well in both. The tracks are mostly quite faithful to their album counterparts and represent Code Elektro’s four-album catalogue rather evenly. The biggest difference probably lies in the addition of guitar to tracks that didn’t have it before, sometimes playing leads or more drawn-out atmospheric passages, sometimes serving in the rhythm role. The drummer brings his own human touch and adds little flourishes to the songs. All musicians involved appear to be quite the seasoned pros at performing.

The recording side of things is executed with stellar success. I can only speculate whether this was recorded from the mixer or from the hall or perhaps both, but the occasional audience noises hint at their being at least some hall recording mixed in. Whatever the case, it sounds great. The largest difference production-wise between these live recording and the album versions is mostly that there seems to be a bit more “air” in the tracks, perhaps headroom, perhaps ambient reverb from the venue in them, but I find it actually quite fitting for Code Elektro’s soundtrack-ish style.

On the visual side of things, the album cover recycles the cool, kind of biomechanical dragon head design from the Triads album. While it’s a nice design, I feel like the album would have benefited from a visual identity of its own. I was also surprised to see that only one song from the performance has a video of it uploaded as of writing this review. Perhaps there is more coming, but if not, then it feels like a bit of a wasted opportunity.

The album begins with the ethereal pads and throbbing bass lines of Wolf, an apparent fan favorite from Code Elektro. A groovy hi-hat pattern comes, the bass lines modulates into a gnarly, throaty sound, and a brief silence leads to the main body of the track, with a vocal-like lead synth casting a melody that feels like a call to an adventure. The track strips itself down, offering a variation of the main lead before moving into a buildup towards a pretty sweet guitar solo. After the solo finishes, the track moves into a section dominated by the lead melody, leading into a brief outro with guitar taking the lead role once again. A great opener and one of my favorites from the set.

N3on begins with a curious-sounding, sharp synth sequence. The synth sequence slides into the background as the song opens up, with deep synth bass, distorted rhythm guitar and thin square synth melodies serving as the backbone. There is a somewhat melancholic, fateful sound to it all, the melancholia strengthened by the moderate tempo of the song. A brief interlude featuring remote synth strings and stabs of synthetic piano leads to the main body of the track repeating, this time with an extra synth lead that evolves into a wildly squirming, heavily modulated beast. Another interlude comes in, featuring a steady bass arp and distant choir synths before moving into one last repeat of the track’s main part.

Night Train opens with a slow, steady, heavy bass arp and high-pitched shifting modulated synth melody. They are soon joined by staccato rhythm guitar and a sharp arp. Drums come in while the lead keeps on playing and the track slowly layers atmospheric elements on top of the synths, drums and guitars. An interlude featuring a synth that recalls a hybrid of an electric piano and an organ comes in, other elements giving way for this brief passage before the lead and other elements come in again. Taken from the Triads album, it shares the vaguely asian atmosphere of the album.

A sharp bass arp kicks off Never Mind the Solar Wind. A filter sweep leads to the main body of the track, and the arp is joined by rhythm guitar and drums. Hollow synth melodies, needle-sharp synth staccatos, airy choir pads and heavily modulated samples talking about an “expedition” color the track. Towards the end there is a section with a heavily modulated synth lead. The track has a very sci-fi, kind of mysterious sound to it all.

Gnarly, swooshing synths, rhythm guitars, a toothy PWM bass line and a drum buildup kick off Driving On the Moon. The track is quite atmospheric, and relatively sparse, with low-key synth leads and occasional passes of very resonant synth stabs. An otherworldly interlude with distant voice samples leads into the main body of the track repeating again, this time with extra synth leads, including a whistling, almost theremin-like lead. It shares the spacey vibe of the previous track.

The live set explores further space themes with Cosmonaut’s Dream, which opens with deep synth basses, a melodic arp and a drum beat. Slow waves of distorted guitars and an almost organ-like, flanged synth lead give the track character. The track has a chorus with a very beautiful, resolute melody featuring a piano-like instrument as an extra element. A sparser section with a kind of hollow sounding synth and filter-sweeping passes of synth bass follows, before the main body of the track repeats, this time with some alterations to the melody. The chorus repeats, in extended form, slowly stripping itself down. One of my favorites from the set.

From Cosmonaut’s Dream we move to Cyber Dreams, which quickly builds itself into a satisfying mix of bouncing bass lines, resonant synth sweeps and choir-like and saw-synth leads taking turns casting atmosphere. Judging by the sound of it, these cyber dreams have their sinister side. There’s a drum solo over a low bass drone at the halfway point, leading to the main body of the track repeating, this time with alterations to the synth melodies.

Digitron opens with a low, modulating bass arp and almost distorted-sounding passes of synth melody. Heavier synth stabs backed by guitar come, as does a slow, intermittent bass line. Bell-like synths twinkle in the background and theremin-like synth wails come in. A stripped-down interlude featuring bell-like twinkles and a gnarly-synth sequence that has loomed in the background comes in. The main body repeats, leading to another interlude, and the main body repeating once more before the track ends.

A hollow synth pad and a flanging synth sequence serve as the intro buildup to Propulsion Drive. The track kicks into life, featuring staccato rhythm guitar, a deep bass line and splashes of sharp, remote synth lead. An ascending-descending lead comes in, building towards an interlude featuring cosmic swooshes and remote voice samples. The main body of the track repeats, this time with a brief pause where other instruments give way to the bass, before the ascending-descending synth pattern comes in again, this time with some extra flourishes. There’s a sense of motion fitting the name in this track.

Binary Prophecy begins with crystalline synth sweeps and swirls of percussion and arps. An unusual, distorted lead synth comes in and leads the track to a section dominated by a low PWM bass line that turns into an extended buildup. Guitars, arps, swirling percs come slowly in. The crystalline swirling synths come back in, joined by modulated, high-pitched synth leads. The bass grows in intensity, opening up. Further leads come in and the track crescendos in a swirling mass of synths before ending, and ending the album with it.

Overall, the album is a fantastic treat for longtime fans of Code Elektro and a good introduction to his work for those who have not yet heard of it. Code Elektro’s slower, more atmospheric, soundtrack-influenced style may not be for everyone, but those who enjoy a good fix of sci-fi ambience will enjoy this album and further journeys into Code Elektro’s discography. Judging by this album, Code Elektro has translated their sound into live environment with success, and I for one will gladly go see them play live if I ever get the chance.

For more Code Elektro, visit codelektro.com

CZARINA 06/08/2021 CZARINA 06/08/2021

MIKE TEMPLAR - Digital Death

This past year or so, I got the chance not only to work with Swiss synth and electronic artist and producer, MIKE TEMPLAR, but also to get to know who this charming enigmatic character in our scene is who, once in a while, shoots out deeply profound thoughts with a little bit of dark humor. It doesn’t come as a surprise that he is a stoic Lynchian. Our conversations would often snowball into deeply surreal aspects of human nature and all sorts of theoretical psychoanalysis that may or may never have been considered. Mike is that friend who would invite you to peek what’s behind the red velvet curtains, try on the mid-century leather cushions, and slide along those black and white, chevron-striped laminate floor, wondering if some particular Greek statue standing at the corner of the room is either trying to be modest or hide something. Mike’s music is just as cerebral as he is, poignantly pondering over human connectivity and higher consciousness. And it is not a surprise that one of his recent releases was based on Twin Peaks’ Black Lodge.

Mike Templar has just unveiled his latest full-length, Digital Death - an eclectic mix of tracks that pull from different genres that showcase his full breadth of versatility and perspective, at the same maintaining cohesiveness directed by his artist mission. As I often believe that artists are the only ones who can really dive deep into profound levels of their art, I invited Mike to talk about his new record, his collaborations and his thought process in making this body of work.

______

“ Space knights, Valkyries, funk masters and dark wave connoisseurs come together to bring you the "Digital Death". When you realize that your cyberpunk futurism is going to be more likely analog. My new album "Digital Death" is a concept album dedicated to the digital poisoning of our society. Creepingly, our economy and our well-being is shifting into an illusory world by means of "likes", from which it is difficult to escape. "Simulacres et Simulation" has become the program of our thought processes, so that true values such as love, friendship, fraternity, deep and genuine communication are increasingly being obscured. Nor has a single Bitcoin to date really replaced land and real estate in terms of value. One could think it is a global psychological operation aimed at keeping people trapped in front of their screens instead of powerfully confronting the immediate machinations in the immediate environment.

The album is a fusion of new wave, French house, funk, electronic rock, synthwave, a bit of gothwave and features my first vocal performances. The Depeche Mode-like and already released album song "Black Lodge" is my proud vocal debut, along with other vocal performances of mine. I am also incredibly happy that I was able to get three of my favorite artists in the synthwave scene for my album. The song "Ghostly Whispers" is sung by C Z A R I N A, who also wrote the lyrics. This song has become one of my best works. I wrote the instrumental piece of music a year ago and de facto designed it only for C Z A R I N A; I couldn't think of anyone else for this song. It took some time together to do it and her busy calendar was a challenge in this project. Any effort was very worthwhile: The end result is a touching and profound song. Another artist I was able to win over for my album, who already caught my attention a lot with his debut album, is Strike Eagle. He sings on the track "Turn OffThe Screen" and also wrote the lyrics for it. He does what he does best: He performs with full power and gives the funky track everything it needs to be catchy. The last guest artist on my album is The Institute91'. For me, he is one of the best darkwave producers and, in my opinion, an artist too little recognized in the scene. His albums and lyrics often point to critical issues in society. For the song "Digital Frontier" I asked him to create a spoken word text that has it all. The result of his performance is a psychologically clever text and in the style of an old radio recording, warning of the dangers emanating from man himself. And last but not least: My father plays the saxophone solo on "True Value". If you want to call the album "Digital Death" your own, it is best to visit Bandcamp. The album includes a graphically sophisticated designed booklet with all lyrics and some art images generated with Generative Adversarial Networks (GAN).”

*Mike really loves David Lynch. And David Lynch seems to really love him back. :D*

Vero Kitsuné 06/08/2021 Vero Kitsuné 06/08/2021

C Z A R I N A - Wonderland

Galicia, Spain-based American synth and electronic artist CZARINA (styled as C Z A R I N A on all platforms) unveils her latest Pagan-themed Baroque Pop and Electronic Rock Single, Wonderland. A track she proudly dedicates to her new home in Galicia, which she refers to as her “Sacred Wonder,” Wonderland celebrates the magic and cosmic mysteries of the Spanish Kingdom’s Druid and Pagan history. Produced in the midst of the COVID19 pandemic, Wonderland is a song about rebirth and realigning one’s spirit with the wonders of nature and the cosmos as the world rises once again from “the ashes that once burned.” The anthemic track summons human and otherworldly spirits to welcome the dawn of a new age, celebrating life, strength, survival, and dauntless, unwavering faith. Written, arranged, performed, produced and recorded by CZARINA, Wonderland is an eclectic and powerful amalgam of electronic and organic sounds. The song starts with a huge undercurrent of large bass arpeggios and CZARINA’s hallmark topline piano riff that carry on throughout the song, followed by a simulated chamber orchestra consisting of strings, brass horns, wind pipes, taiko and timpanis with the traditional rock drum kit. It features a post-punk and darkwave vocal performance along with a full Gothic choir chants all performed by the artist. Co-producer, mixing and mastering engineer, Von Hertzog of The Social Club (Reading, PA), provided additional atmospheric sound designs and additional percussion (congas and syncopated hardwares) to enhance the track’s uptempo rhythm. The dynamic arrangements all lead into one giant final crescendo that would leave one breathless, spirited and hopeful. Wonderland and its accompanying music film are available across all platforms. It is the second single from CZARINA’s sophomore full-length record, ARCANA, due Fall 2021.

Stream or Purchase Wonderland here.

CZARINA recently sat down with electronic music journalist, THE ELECTROSCAPE for a full, in-depth look into her history in music, art, fashion, design, and shares her story. Read it here.

CZARINA is Vero Faye Kitsuné, an award-winning electronic musician, producer, songwriter, filmmaker, creative director, designer and visual and performance artist. She is known for her multi-disciplinary approach that combines trans-humanism and post-human aesthetic with new age mysticism, informed by her love for futurist culture, cybernetics, biomechanics and the discipline that comes with her Budo martial arts training.

CZARINA’s unique soundscape seamlessly melds electronic with organic sounds, transcending a vast spectrum of genres including progressive synths, art rock, Baroque pop, cyber-punk, industrial, trip hop, post-punk and darkwave. Her eclectic list of musical and visionary influences include Nine Inch Nails, TOOL, Massive Attack, Bjork, The Knife, Fever Ray, Puscifer, Vangelis, A Perfect Circle, The Cranberries, Enya, David Bowie, Led Zeppelin, QUEEN, Blondie, Kate Bush, Siouxie Sioux, Tori Amos, and visual masters and storytellers Masamune Shirow, Yoshitaka Amano, HR Giger, Hayao Miyazaki, Katsuhiro Otomo and Hajime Sorayama. CZARINA takes her audience into a smoky, neon-lit dimension, filled with atmos-pheric and cinematic synths, shimmering arpeggios, sonic guitar riffs, catchy melodies, power-ful vocal hooks, and poignant, thoughtful lyricism that compels one to look inward, around and beyond the material world.

CZARINA 04/08/2021 CZARINA 04/08/2021

THORISSON + HEDBAND - In For The Win

It’s the way he dons the color pink and platinum-purple dégradé hair that first caught a lot of our attention. And then there’s the lucid and effortless saxophone and synth performances popping all over social media, and recently an appearance in ‘80s Revivalist, Blake Carpenter’s music videos on the Synthwave Twitch Channel, Static Realms. Who is this lovely pastel-tinted emerging synthwave charmer? He is no other than Iceland-based music maven, multi-instrumentalist artist/producer THORISSON. Thorisson has been turning heads with his own brand of saxophone and brass horn-gilded synthwave and synthpop. Thorisson’s musical palette and range contain all the ingredients of electropop, synthpop, and new wave with some touches of modern pop sensibilities especially in tracks like “Rise Up,” “Thinking Bout Us” (with Siri Linn), “Don’t Lie To Me” (with Nitika Budha Magar), “One Night” and “Neon Skies” with fellow Iceland synth pop duo Hedband. Thorisson also completes the musical spectrum, diving into the edgier side of synth-based music in tracks like “Showdown” that features some wild guitar heroics over sparkling arpeggios and heavenly, phosphorescent pads.

Then through Thorisson, we discovered the very lovely, dynamic duo Hedband. Thorisson recently teamed up with Hedband for a winning anthem with a perfectly-timed release at the dawn of the Summer Olympics in Tokyo: “In For The Win.”

“In For The Win” is a track for the underdogs, an anthem for all those who have been second-guessed by themselves or others. (We definitely know what that feels like!) Over the triumphant 80's synths, saxophone, electric guitar and stunning harmonies, the track wins with its uplifting lyrics and affirmations that we will get through all the hurdles just the way our all-time favorite Olympic gymnast, Simone Biles tackles her floor routine. Listen to the track here.

About THORISSON

Born in Iceland in 1993, Borgar Thorisson became interested in music from a young age. It was not until his late teens, though, that he developed an interest in music production. Thorisson made his breakthrough in 2014 with a remix of Sunset & Solid Skill’s “Alive” with Cloudland Music with huge success, making it to Markus Schulz’s top 10 songs for November 2014.

Following on, he signed 2 new tracks to the same label, and ‘Awake’ and ‘The End’. In 2016, Thorisson moved to England which gave his career a boost, seeing him teaming up with singer Molly Bancroft for ‘The One For Me’, followed by a collaboration with Simon Latham the following year called ‘Here We Are’, which was premiered by superstar DJ Armin van Buuren.

The producer has since re-established himself in the synthpop and synthwave realm, with his most notable releases to date being collaborations ‘One Night’ with Hedband and ‘Thinking ‘Bout Us’ with Siri Linn, which respectively earned him a spot on the 2018 Iceland Airwaves music festival and a top 50 position in Norway’s pop charts.

For more Thorisson, visit: thorisson.bandcamp.com

About Hedband

What started off as a fun idea between singers Karitas Harpa Davidsdottir and Inga Birna Fridjonsdottir, turned into a reality one day when they woke up to a message from Thorisson, who had been looking to take his production into a different direction.

The duo had already formed an idea of the band’s concept, with costumes and musical directions determined. Once that final piece had made its way into their puzzle, Hedband were set to release their debut single ‘One Night’ with Thorisson, which quickly found its way into Iceland’s national radio’s top list. Following on, the group performed at the 2018 Iceland Airwaves music festival and released a Christmas cover, ‘Snjokorn Falla’ the same year.

After a 3 year hiatus, Hedband have returned to the scene, spontaneously releasing ‘In for the Win’, for which they teamed up with Thorisson again. For now, Karitas and Inga have decided to take another break from their ‘80s infused ventures, but who knows what the future has in store for Hedband.