Bunny X - Love Minus 80

Review by Karl Magi

Overall Album Impressions

Bunny X’s Love Minus 80 takes listeners on a lushly interwoven synth journey through a sci-fi inspired series of tales in song form. It combines their emotive vocals and well written songs with guest performances from Don Delpiero, Thought Beings and Sellorekt/LA Dreams to create expressive, engaging music that draws me in and hits me with intense feeling and auditory joy.

All of the guest artists on Love Minus 80 bring their unique talents to bear in the album. Each of them helps add to the depth of feeling and expression in the music. There’s a level of aural beauty radiating from each of the songs on which they perform that adds to the already high level at which Bunny X operate already.

I also want to shout out the high production values on Love Minus 80. Gosteffects an Abigail Gordon have created music that fairly oozes ‘80s vibes while remaining pin sharp and crystal clear. The production quality allows the synth tapestry a chance to shine and the vocals to make their full impact as the album unfolds. The synth palette on this album is detailed and lushly textured. In combination with strong bass and drums, the end result is layered and engaging.

Taking inspiration from science fiction adds a layer of depth and interest to the songwriting on the album. I enjoy the way in which Bunny X shows respect for the original stories’ creators while remaining fresh and original in their writing. They pay homage to the source material without leaning too heavily on it. The end result is songs that capture something essential from their sources of inspiration, adding to their depth.

My Favourite Tracks Analyzed

“Love Is An Empire” comes into being as sharp-edged synth flashes through oscillating bass carry a melody with a longing edge to its glow. Abigail Gordon’s voice exudes trembling gentleness, expressing aching affection as retro drums provide giant-sized support.

Cloudy, diffused light shines through the vocals, wonderfully full of tender caring. Widely gleaming synth intertwines in a melody that feels like soft morning mist as the low end presses on. Abigail Gordon’s vocals are lightly touching and emotive and a light touch as radiant synth shines.

Cascading synth echoes out, carrying the enfolding melody like calming hands on skin. Burnished synth sparkles while the vocals is heartfelt and settling while hard-hitting drums and solid bass add form. Luminosity irradiates every musical element as the song ends.

“I sense you calling out softly, out there in the darkness” is how our narrator opens this song as she adds that she knows the other person is running back to her. She says “it’s all coming down again” in reference to the familiar feeling one gets as if a long lost friend is returning home once more.

Now the teller of the tale asks the song’s subject to “take the Milky Way down, long past these broken sidewalks.” She says they should run into the night, adding that she’s got no desire to go back. The storyteller points out that once she’s found the other person “we’ll build an empire” and make it work together. She states that “love is an empire.”

For a while, everything was unclear to her “like a forgotten dream.” Now she can see the other person returning to her vision. She speaks of “racing onto the interstate” as they pursue the feeling they seek to see where it all ends up.

Abruptly flitting, rough-edged synth vibrates above dense bass to open “The Forever War.” Abigail Gordon’s warm voice echoes out, carrying a melody mingling dynamism and affection while the bursting snare drum and thudding kick drum push on. Bass provides lush support while clear synth flashes out in choppy lines, containing strength and nobility.

Abigail Gordon speaks now, delivering a message of support and protection, as the rising tide synth tide suffuses the song with sunlight. Chiming notes flicker while a rounded, broadly echoing synth carries a wistful, peaceful melody. The expressive vocals effectively capture the meaning in the lyrics. Punchy drums support the intense lead synth as it powerfully glimmers and bass wells up far underneath it. The song ends on a tumbling synth pulse and strong drums.

The storyteller reassures the song subject by saying that “you can let them come to me, I’ll control your fear.” She says that when the war approaches, the other person can count on her this time. She adds that she’ll protect the other person “through the centuries” as she swore to do. Now our storyteller asks the song’s subject to “hold me in your memories” and says they’ll keep them good.

Our narrator points out that they’ve travelled “so many lifetimes” that the idea of home is meaningless. However “our sun hasn’t set yet - it’s not too late” so she asks the other person to meet her “at the 5th planet out from Mizar.” She goes on to say that it doesn’t matter how long it takes. Now she says that in the other person’s eyes “I’m forever frozen in the past” but if they use “time dilation” there is a chance of finding a way to make it all last.

“Daydreaming” starts as muffled, twisting synths wells in strength as colossal drums form a surging pulse alongside huge bass. Abigail Gordon’s voice is pleasingly rich with feeling as it carries a melody that makes me feel settled and laidback. Bass and drums with intense weight propel the song in broad walls.

Nasal-sounding, bending sound spins in knotted motion as the unrelenting drums and bass drive Abigail Gordon’s voice possesses resonant depth, the melody carrying both pain and dreamy hope while thunderous bass throbs and chiming notes glow.

The vocals tremble with need and affection to contrast with the immense muscled strength below them. Medium-high, mistily gliding synth calls out with mournful light as the ethereal vocals drift and the song fades quietly away.

Our narrator knows that the other person’s “mind is swimming” and they are pensive because “you’re so tired of the way things seem to go.” She says that she’s got something to say and she hopes the other person will listen. She wants them to know that “your love is like a dream.” She adds, “when I think of you and me It’s like I’m daydreaming.”

The storyteller says that she can see the other person “running all night into the morning” feeling that they can only get through everything alone. She says that she as been calling out to the other person “wishing you would let me in.” There is a “hole in y heart” when they leave again. She concludes “When we’re all alone, I can’t hide this feeling.”

Bluff, blunt bass punches in as a nervous sonic rush flits past and giant drums burst to begin “The Darkest Place.” Mary Hanley’s voice has a lost quality, full of seeking as the vocal melody skilfully mingles ache and anticipation. Glittering, elevated synth flashes with radiance above underlying power.

Shiny synth permeates the song in wide band brightness as Mary Hanley’s voice exudes heart-touching emotion. Fragile chimes drift in a lonely line as ringing, string-like notes swim out in a diffused line above the massive drumbeat and pulsing bass.

The vocals rise out encapsulating aspiration and protective love. The song flows into a segment in which airy, metallic notes shimmer delicately above gruff synth in contrast to the peaceful vocals. Flaring synth notes leap out above low end strength pushing onward from below as the chorus carries protection within it.

This story’s teller speaks of struggling to keep the other person close “but looks like we failed.” She creates a desolate image of “floating blind in the darkness and just falling without end.” She points out that it’s been ten years since the song’s subject has been home or seen a friend but she won’t give up.

Our narrator says that when she gets the other person back she’s not going to let their opponents take that person away again. She adds, “You’ll always run free my friend!” Now the narrator tells the other person to shut their eyes, count down and they’ll see her face. She realizes they have been waiting for her in darkness but “I swear I won’t let them take you away again.”

She acknowledges that the song’s subject fought hard so she needs to bring them home. They’ve been “lost in a world, a galaxy that’s still unknown.” She says she will pay any price. She promises “I won’t let you go, won’t fall for the lie.” Finally she swears that “this time we’re getting close.”

“Love Minus 80” commences as hollow synth shivers in descending lines that echo out into open space as gruff bass and widely throbbing drums add motion. Mary Hanley’s voice exudes power carrying a darkly shaded melody wonderfully tinged with passion.

Rising synth flows out in a sweeping, luminescent tide as angular, fierce bass cuts in as piercing fire flashes from a raised synth. Orion’s deep voice carries melancholy within it as slamming drums drive on and lacerating synth pushes past.

The music glides into a smoother segment before the vocalists combine their voices above jagged sound below them. Intensely flickering synth leaps out in brief motion and silence falls.

“You said we’d be fine and I believed you” is how the narrator opens this song. She asks the other person to make up his mind and help her to get through. She adds that she never thought it would be easy and points out that they can’t forget that “it’s a timeless experiment, never-ending romance.”

Our storyteller says that every time the two of them are apart “seconds go on for days.” She asks him to give her one final chance and she promises to bring him back. She goes on to say that she’d “bend time just to have you near, here in my arms.” The storyteller promises to free him even if it takes 100 years to see him again.

The second narrator says that is has been so long since he’s seen the song’s other character. He says that when she was “laying there in the ice” she was so confused. He speaks of “living life deep in shadow” as he tries to pay off his debt because “it’s a timeless experiment, never-ending romance."

Starry synth ripples out above slightly gritty lower notes with a reverent feeling as massively powerful drums slowly throb to start “Good Love, Gone Bad.” Abigail Gordon’s voice is fragile as it carries a mournful melody above the widely sweeping bass and drums with cosmic power.

Refulgent synth cuts in while the drums and bass thunder below and Abigail Gordon's vocals touchingly exude loss and reminiscence of better times. Sharply shining synth leaps in lacerating lines above the drums’ deep strength. The vocals touch softly above smoothly encircling synth and muffled drums as a steady brushing pulse flows.

Coruscating synth extends in broadly towering notes while drums and bass surge on. Abigail Gordon’s pained, delicate vocals glide above vibrating synth and a kick drum heartbeat throbs continually. Drums collide and the song ends on gigantic synth flashing above the bass throb and below drifting vocals that slip into quiet.

Our narrator says that early on “when my heart was on fire, it was a sweet escape.” As time passed, the other person grew cold and now she “can’t hang on much longer.” She adds that it is “good love, gone bad.”

The teller of this tale says that she still thinks of the other person “on warm nights like this” because they were such good friends. However the song’s subject “turned the sky so black” without more than a word. Now she can’t go on any further but she “spent all night dreaming of you.”

She points out that she thought she knew the other person and concludes “but after I’ve won this war, I’ll still be your fool.”

“Chiba City Blues” begins as bass like a pillowy cloud supports glistening, string-like synth carrying a tranquil melody. Arpeggios spin through as smooth drums and bass add shape. Gleaming synth echoes out below Abigail Gordon’s calming vocals sliding through, carrying a melody that puts me at ease above scudding bass and tapping drums.

String-like synth adds glimmering illumination above the easily moving drumbeat over bass oscillation. Abigail Gordon’s voice is caressing as effulgent synth radiates and the bass quickly oscillates. Now the guitar twists out in a twirling dance, reaching high with aspiration as the bending notes fade out into silence.

The storyteller says that she knows the other person will come around “when the hustle’s got you down.” This situation is the Chiba City blues. She points out that the other person has “learned so well from your mistakes.” Now Night City is calling them and they’ll “get jacked into the ice.” Our narrator concludes by saying “let’s see If you’ve got what it takes.”

Conclusion

Love Minus 80 is a joyful journey for me. It combines the wonderfully layered synth sounds with excellent vocal performances, grabbing songwriting and guest artists who lend extra depth and breadth to the music. The homage it makes to all of the talented sci-fi creators is an added bonus on an already first-rate album.

OK James - Adventurous Music

Review by Karl Magi

Overall Album Impressions

OK James’ Adventurous Music is indeed full of adventurous sonic combinations, entertaining musical moments and ear-catching tones, timbres and textures. OK James weaves together all of the various sounds into a cohesive and playful whole throughout the album.

For me, one of the draws to Adventurous Music comes from its playful nature. OK James seems to be having a great deal of fun playing with sounds and samples throughout the album. His retro vocal samples fill the music with quirky entertainment and he is clearly having a ball mixing together his pleasingly eccentric sonic palette to create ear-catching music.

I enjoy the off-the-wall nature of Adventurous Music’s soundscape. There’s a whole variety of scraping, wobbling, flashing sounds along with jazzy guitars, distorted piano and an array of unique percussion. There’s something so satisfying about the creative ways in which OK James mixes different sounds together to create fascinating compositions. This is music with real heart and soul to it.

Rhythm and groove also permeate OK James’ music on this album. He underpins every track with potent drumbeats and dense bass power. There’s always a beat that ads support and shape to the music, keeping it all moving in the right direction as the tracks reveal themselves.

My Favourite Tracks Analyzed

“The Reality Of The Now” begins as a retro vocal sample talks about a “music revolution.” A tidal drumbeat and metallic, hollow percussion form a persuasively propulsive and funky beat. Distorted synth shimmies in a pleasingly elastic line as record scratches shift.

Broad, gleaming synth creates a pulse that slides in between the beats as creaky noises move. A vocal sample speaks of people struggling to differentiate real and fantastical experiences as chiming notes sparkle along with the gigantic drumbeat that ends the track.

Taut string-like synth creates a hypnotic pulse above bending bass as a tapping sound moves regularly to open “Other.” Drums patter along with brightly flaring synth sweeping in nervous chords. Solidly hitting drums form an energizing pulse as digital-sounding notes writhe.

Metallic percussion hits as the drum and bass throb. Varied, ear-grabbing percussion creates deep aural interest. Computerized sounds buzz and jump while bell-like percussion adds brightness and rebounding bass pulses. Twisting sound joins gliding chords. Shimmering chimes brush past above bursting drums as a soothing sound flows into silence

“Adventurous Music” starts as slicing synth leaps and a dense kick drum pulsates in a muscled line while roughly scraping sounds move. Ringing chimes call out with concentrated brightness above weighty drums rebound while open-sounding notes float with hollow breath.

Watery sounds trickle as giant drums smash and wriggling chimes float. A vocal sample adds encouragement as xylophone contributes a woodsy tone. Razor edged, rapidly oscillating notes creak above thumping kick drum in an active motion that effectively generates an edgy sensation.

Flaring, elevated notes pulse, doubling gleaming synth. A classic vocal sample warns of approaching danger. Rounded synth repeats in a light line over the sharp edges and digital volleys below it.

A vocal sample speaking of laying something in your ear opens “In Ya Ear.” Crisp drums throb below tripping piano moving above the interlocking groove. The groove drops away as distorted piano roams in a hazy line.

Smoothly warm guitar notes give way to bursting, solidly groovy drums. Cut up violin adds interesting resonance as a jazzy guitar flits through in dynamic motion. Twisted piano drifts in bright patterns while the drumbeat stays in the pocket before the music fades out.

“A Journey Into Sound” commences with reverberant piano that’s joined by ticking drums, as a vocal sample adds a vintage touch. A solidly hitting drumbeat pops adds support and record scratches contribute their own percussive quality.

Smoothly flowing piano chords shift above the drums which fade as hand claps come in and a vocal sample speaks of a journey into sound. Roundly radiant notes bubble upward to please my ears. As piano dances in ethereal lines, delicate chimes flutter. Sharp-edged synth slices in tight lines as slipping sounds smear.

A hi hat hisses above big drums as record scratching adds a textural element. Rattling sound cuts in and now a steadily glowing notes move behind another retro vocal sample. A cut up voice adds passionate sound above the strong drums.

Deeply vibrating jazz organ carries caressing notes that contrast with wobbling, gritty bass to open “That’s Not A Moon, That’s A Basstation.” Sawing, dry synth with a string-like quality drags past above rubbery, colossal bass as vocal sounds flicker.

Reverent synth pours out peaceful light as digital-sounding, medium-high notes pulse. Crystalline chimes drift and raised sounds with a warning quality move over heaving bass. Medium-high, bending synth adds a haunted quality before the drums lock into a propulsive pulse.

Galactic orchestral sound becomes a majestic melody moving above tremendous bass depth in a most pleasing fashion. Fragile chimes tremble with a soft touch before bass rumbles again. Darkly twisting synth writhes and curls above broken drums.

Chimes sparkle mistily again before the track drives on with a rushing, ticking drumbeat. Soft scraping repeats above massively powerful bass. Drums speed along with a quick vocal pulse and the track ends on surging, threatening notes.

“Elegy” begin as a vocal sample reminds us that there’s no fooling around, this is for real. Clean drums create shape, harsh hissing cuts in and bass flows in smooth lines. Organ-like synth floats in unsettled lines and a gentle voice touches the listener's ears. Drums and bass intertwine in an active pulsation as funky guitar strums brightly.

I enjoy the way in which the drumbeat hops and jumps as twangy strings play a catchy lick. Flaring guitar adds a groovy feel as a vocal sample speaks of how humans have to remain civilized. The track ends with “alright, lets get out of here.”

Conclusion

Adventurous Music showcases OK James’ creativity along with his sense of humour and an obvious love for aural painting. This is music that frolics through each track, creating a playful sensation that keeps me listening.

Mahl - Wanderland

Review by Karl Magi

Overall Album Impressions

Mahl’s Wanderland combines intriguing musical contrasts, a lavish synth palette and emotional power generated from the melodic and harmonic content of the album. Mahl creates soundscapes that are both touching and engaging as the music unfolds.

Throughout Wanderland, Mahl puts luminous synth up against shadowy bass, mixes sharply lacerating sound with smoothness and interweaves delicate notes with deep power. As a result, I find that my ears and mind are constantly engaged and stimulated. This is music that entertains my ears with its layers.

A varied mixture of energetic, gleaming, seething and swirling synth sounds fill Wanderland’s auditory landscape. Mahl roams across a complex range of synth textures and tones to help his music make an impact. I enjoy his decisions and the way in which they form an enjoyably rich musical whole on the album.

The melodic writing on the album along with the beautiful harmonies creates and maintains strong emotions. Mahl is able to compose melodies that reach my heart and harmonies that are attractive and engaging. Together both elements drive a wide variety of feelings and sensations as they fill the music.

My Favourite Tracks Analyzed

“Hi Tech Rec Home Master” begins as computerized-sounding notes climb before clear light emanates from a raised synth that breathes gentle emotion. A vocal sample talks of “high tech rec” while iridescent chimes glint above heavily pulsing drums and dense bass.

As the bass oscillates, effervescent synth sings the main melody mingling heartwarming melancholy with hopeful emotion. The vocal sample talks about video games in retro tones as shining lead synth tumbles past and wide-sounding, digital chimes add resonant feeling. Gleaming notes trickle through and pulse-pounding drums and bass press on.

After a solid bass punch, the track slips into a segment in which tremulous synth spins out a soothing arpeggio while the vocal sample talks about the excitement of video games. Uplifting synth moves in leaping, positive lines and chimes flicker with delicate light as angular synth pulses. The track returns to resonant, chiming notes adding motion before silence falls on video game sounds and fragile notes fade.

Trembling notes slowly rise as a softly touching drumbeat is joined by massive bass to start “SpaceWalker.” Cosmically drifting synth swirls slowly through the track as ominous weight fills the bass.

Jangling, medium-high synth carries a dynamically twisting melody above guttural bass and easily pulsating drums. Bending, lustrous notes move with 8-bit sounds above the bass flow. Drama is effectively added by shadowy synth floating past while jangling notes in the background add texture.

Metallic, medium-high synth carries a slightly melancholy melody while digital-sounding notes descend in wriggling motion. Nasal, distorted synth adds a spaced out quality and we fade on giant bass.

“Italo 85” opens as a 1950’s ad talks about “soft soap” as colossal bass bounces and throbs. Ticking percussion dances as medium-high, rebounding synth carries a joyfully twirling melody above the pumping low end.

Rattling, tapping percussion moves as disco bass adds propulsion. A slowly unfurling arpeggio moves while computerized, rounded synth carries the hopefully energetic melody above angular bass motion.

Reverent notes glide past as gruff, minor key synth spins out a more tentative line. Soft-edged synth carries the main melody’s positive emotion out over the throbbing drum and bass before the voice over closes the track.

Otherworldly, resonant synth climbs from bass depths to open “Memory.” Full-sounding, medium-high synth glides in a fragile line above a sharper edged glow before massive bass throbs in active motion. Raised notes vibrate while bell-like synth floats past to accent it.

Flickering synth effectively fills the track with cosmic illumination above colossal bass swelling outward. Bursting percussion joins serenely unfolding synth to add contrast. Medium-high synth with a broad sound carries a melody expressing hope and motivation above the shaping drumbeat. The main melody has an elegiac quality as warmly aching synth airily drifts above it.

Drums drop away as chimes shine delicately. The round tones of the lead synth slip past, melancholy and gentling, while drums and bass return to add form underneath. Elevated synth adds a tragic note to the music as it fades away on enfolding notes echoing into space.

“The Beach” begins as intensely flashing synth moves above oscillating bass, carrying an encouraging and hopeful melody as the hard-hitting drums throb. A playful vocal sample adds more happy emotion to the track.

Now the steady drum and bass heartbeat supports the melody that pours out joy and positive energy in a deeply pleasing manner. Rippling, digital-sounding synth trips through and powerful drums press on with the lushly flowing bass.

The lead synth lustrously sings a heartwarming melody as the track moves with elegant ease. A child’s voice adds to the music’s wonder while flickering chimes slip by. The main melody buoys me up with simple joy. I feel a smile touch my face as the track ends.

Intimidating, steadily throbbing bass with a gruff quality drives as drums thud to start “Wanderland.” Metallic synth exhales as digital sound ripples and drums and bass slam forward. Wide-sounding synth with a reverberant gleam carries a pleasing melody that inspires feelings of adventure and wanderlust in me.

Towering bass rises with looming energy and a siren blares above pumping drums and bass. Feather-light synth gives a diaphanous sensation to the music as a vocal sample floats. Glistening lead synth emotes as it combines trembling with energizing feeling. High synth caresses with a tentative touch before huge bass throbs out into silence.

“Metropolis" opens as seething bass moves with shadowy power as tension mounts. Diffused snare drum bursts and angular, technological sounding synth cascades with a cold quality as hissing sounds drift past.

Sharp bass combines with driving drums as more hollow percussion adds shape. Computerized, pulsating synth tumbles above the throbbing drumbeat. Elevated synth calls out melancholy, lost-feeling notes that effectively radiate emptiness.

Jagged synth is touched by an orchestra hit while spinning notes twirl and open-sounding percussion taps. Steady, dark synth is touched with tenuous feeling notes above crushing bass. Drifting, mournful notes give way to gut punching drums and lacerating bass before fading to quiet.

Bass growls darkly as spaced out sounds flicker and cosmic notes create a gently reverent background to commence “District 1.” Sunlit, gleaming chimes flow in an astral pattern exuding starlit calm in an enjoyably settling fashion.

Dominating chords flare and bass oscillates with muscled strength as widely sweeping arpeggios twirl. The bass is a constant presence and the lead synth shines with flickering light as the arpeggios turn and wobbling synth moves into silence.

“Gran Turismo” begins as a cloud of intertwining, string-like synth creates an abiding feeling of relaxation to draw me in. Sirens soon cry out a warning and jagged, gigantic bass now pounds quickly. 8-bit notes vibrate and hissing snare drum joins the heavy bass power.

A pipe-like synth with a metallic quality carries sailing notes above the undulating bass and drums. Glossy synth carries a lively melody tinged with more troubling emotions. A raised beeping grows in intensity and gliding synth chords move while sirens rush.

Air-filled synth adds an easily floating sensation in contrast to the leaping snare drums. Flickering arpeggios spin and resonant synth bounces. Wide-sounding, lambent synth urges onward and soft arpeggios spin before silence falls.

A billowing synth cloud illuminates “Everything Was Beautiful and Nothing Hurt” like morning sun delicately lighting it from within. Slowly sliding sound joins a thudding kick drum as luminosity fills the main melody. I am enamoured of the wistful nature of the main melody as bass creamily curls around it.

Delicate, metallic synth carries a yearning melody that fills my mind with sadness and need. Swirling chords and far off chimes touch medium-high synth while throbbing drums and lapping bass waves add form.

I let go of my tension as interwoven synth drifts and chimes ring out. String-like synth unfurls, trembling tenderly while the low end adds direction. The song ends with night noises and peace.

Conclusion


Wanderland is indeed a synth journey. It takes listeners from ache to hope, from joy to darkness across a landscape of intriguing, soothing and energizing music. Mahl has a knack for producing music with depth, complexity and ear-grabbing life.

DASHCAM - Sundown On Volcano Beach

Review by Karl Magi

Overall Album Impression

DASHCAM’s Sundown On Volcano Beach exhales glistening neon light and heart-piercing ache as it unfolds in luscious layers of retro-synth sound. DASHCAM and his talented musical guests weave a touching, softly shadowed and emotive tapestry of music, voice and lyrics on this album. It is one to which I could listen many times without tiring of it.

Sundown On Volcano Beach is an album in which pained emotion mingles with longing, love and nostalgia in a heady way. DASHCAM and his collaborators imbue the songs with an affecting sense of yearning for a pastel drenched, hazy past while seeking love and trying to keep hope alive. I find the music moving and touching as it evolves through the album.

An excellent group of musical collaborators lift Sundown On Volcano Beach to new heights. All of DASHCAM's musical guests bring a unique approach to the songs and suffuse them with fresh sounds. Every collaborator here contributes to the album’s emotional depth and sonic quality to produce a stellar whole.

I enjoy the intricate interweaving of DASHCAM’s well-chosen synth palette. All of the tonal, timbral and textural elements mingle into an expressive, layered and image-rich whole. The synth sounds combine to enhance the longing ache that seems to permeate much of the album in an ear-pleasing way.

My Favourite Tracks Analyzed

"Memories Intro” Celestial chimes shimmer against soothing bass clouds gliding out along with a rush of lucent synth. I enjoy DASHCAM’s decision to open the album with serenity and a dreamy feeling that suits its pastel washed sensibilities. This opening establishes the mood to come.

Strong kick drum and chest punching bass are joined by a phone being dialed and ringing to commence “Life Line.” Weight and power characterize the drums and bass as they drive Anna Wang’s diaphanous vocals.

Exulting synth chords swell to add support to the other musical elements. Darting synth glistens in trickling lines as Anna Wang’s softly caressing voice carries a beneficent melody as chimes sparkle. Xylophone-like notes add lightness as the vocals exude affecting emotion.

Flickering notes accent Anna Wang’s wonderfully expressive voice as graceful notes lift the music. Gently brushing chords bring warmth while glistening synth continues in its energizing pattern above solidly bursting drums and a bass oscillation before silence falls.

The storyteller says that she’s both breaking out and breaking down as her heart becomes a “ghost town.” She’s been seeking love but she sleeps by herself. In spite of everything, she says “sink or swim, I do it on my own.”

Now the song’s subject comes along and upends her world. Everything has changed and she points out that “in high water, you're my lifeline.” Our narrator is cautious as she’s afraid of falling.

Our storyteller concludes that she’d “rather fold than lose it all.” She adds that she didn’t need anyone else because she “lost my mind trying to find myself.” Everything rushes on her, she feels the high water’s cold in her bones. As the song ends, she has realized that everything is different now that she’s in the high water.

Resonant, slightly quivering synth carries rounded notes over open-voiced percussion to start “Oceans.” Funky guitar drifts easily above bass flow as Liv Held’s voice drips with emotion and need in a softly slipping melody. Rich bass rises while medium-high, synth illuminates the music in a spreading glow.

Arpeggios slowly revolve to add musical texture to the song. Liv Held’s voice has a charmingly smoky quality, given a touch of digital distortion as tautly flaring synth trickles past. Drums provide guiding motion above the dense bass. The vocals ache with feeling as synth chords burst with an enfolding luminosity underneath the sailing melody.

Elevated synth radiates a calming glow as colossal drums flourish. Hollow percussion ticks as cosmic notes glitter above muffled sounds, slowly clearing as muscled drums collide below mingled voices. Dense bass provides a solid underpinning while Liv Held’s vocals tremble with affection. Silence falls on funky guitar, swirling chords and unctuous bass.

The narrator points out that the first time she met the song’s subject, she thought they’d be forgettable but she “didn’t know the half of it.” Now she says that “you’ve got me crazy” and the other person is always on her mind. She adds “I know you won't ever quit.”

Our storyteller declares that she’ll be the other person’s “bodyguard” and devote herself to them. She doesn’t have to keep running now because “our love is an ocean.”

She asks the other person to meet her at the movie store and “get into motion.” She says she’ll be their “movie star.”

She says that she “can’t help from reelin’ “ as the other person has her feeling that way. She talks about their “funny little lies” acting as if they don’t cry. There is a twist as she says that all she got from the other person is “those things I say I’ll always do.” Enough is enough for her as she concludes “let's just make a move tonight.”

“Hypnotic” begins as haunting synth sweeps into open space. Clear Pioneer’s muffled voice drifts as strong retro drums pound in with solid bass. The vocal melody has a hopeful quality as twisting sounds swirl in the distance.

The drumbeat and bass are propulsive while broad, glistening synth supports the vocals. Flaring notes fly out in rapidly cascading lines above unevenly tumbling drums and lush bass. Radiant chimes flicker above a rippling synth cascade as the low end punches on.

The vocals are pleasingly smooth and laid-back as shimmering synth with a wide sound echoes. The song slides into a muffled segment before nasally gleaming synth trembles rapidly over the jumping drumbeat. The song ends on Clear Pioneer’s expressive voice, shining chimes and quickly spinning synth.

“Breathe in deep, steppin' outside, floatin' off the ground” is how the teller of this tale opens as he adds that the pleasure is all his. He says that if people tell the song’s subject that happiness isn’t meant for them “ya know they’re lying.” He points out that those people will also tell you that “if you fear joy, your feel is true” but tells the other person not to buy into it.

The narrator wonders how the other person could be “so hypnotic.” He says that they pull him out of himself while “leaving behind my body.” He adds, “you give it to me and show me I've always got it.” He speaks of there being quiet in the other person’s head, urging them to “forget about the ground.” Our narrator talks about them hangin’ by a thread while “you know what's to be found.”

Breakers roll into shore and seagulls cry out as a synth glissade creates soothing emotion to open “Lost and Found.” Steadily pulsing bass undulates and drums tick before moving in a bursting pattern. Crystalline chimes carry a meltingly tender melody with soft light glistening from it.

DASHCAM’s voice exudes heartfelt emotion and affection as it floats through the song as the drumbeat rebounds and bass oscillates. A pillowy synth cloud enmeshes the chorus beautifully as it rises, giving off profoundly gentle emotion. The main synth melody slips on cut glass chimes.

Full-sounding, medium-high synth carries a wistful melodic pattern above big drums. DASHCAM’s affecting voice carries the loving melody as the shaping drumbeat and trembling synth add texture. Hazy warmth permeates the music fully before chimes sing with glinting light. Piping notes add a breathy quality, twirling guitar-like synth moves and a distant voice falls into silence.

The storyteller says that perhaps he’s asleep with the song’s subject as they are “drop top dreamers on a trip just for us two.” He goes on to say that if they are “caught between the sheets and the neon lights” then they are two “dream young lovers” headed out into the night who are "lost and found.”

Our narrator muses that maybe he’s asleep with the other person in “sundown, beach town, sheets found by the pool.” He points out that even with their “heads beneath the waves” they won’t drown. Instead they will “just dive in deep when they come around."

“I Don’t Wanna Wake Up” starts as rubbery synth bends before a powerfully propulsive drumbeat hits along with a bass wall. Becky Heck’s voice has a cold quality I enjoy, carrying the mingled pain and need in the lyrics.

Rebounding, dominant drums and pumping bass add power. Sunny synth provides a glimmering contrast as the hard-hitting drums pound with relentless energy. Lambent chords are joined by a panpipe synth singing a more affectionate melody.

Becky Heck’s voice has an echo on it that enhances its distant feeling as twisting synth writhes rhythmically. Heavily driving drums and hollow panpipes carry the yearning melody to a conclusion.

The narrator opens by saying that the other person is playing it safe “but not any more.” She has cracked the combination and opened the door. It Is “everything I dreamed of and more.” She adds “Dorothy, I don’t think this is…any more.” She goes on to say that she’d rather not wake up “if that means not being with you no more” as she’s “spinning out of control.” The song ends with the phrase “Toto, I don’t think this is…any more.”

String-like synth washes in sliding lines above gently guiding drums and bending synth creates a distantly floating pulse to begin “Hope For You.” Evan Pilak’s voice is wistful above colossal, hard-hitting drums. The vocal melody mingles yearning and delicacy while twangy guitar moves through the music.

Evan Pilak’s voice tugs at the heart with its gentle quality. Deep bass supports rolling synth waves and a robotic filter is applied the vocals, giving them a mechanistic quality. Funky guitar skips past and the vocals are feathery as round-sounding notes float.

Now sharp-edged synth repeats a pulsating pattern as the robotized vocals move. The lead synth climbs in dynamically gleaming lines an a nasal, bright synth repeats a trembling pulse. Evan Pilak’s voice is full of need as the drums below pulsate with intense life while the soaring, whirling synth cries out.

Our storyteller talks about being “cold and calm, detached” and says that when love is gone that feeling is “unmatched.” He adds that he says he doesn’t feel anything but “we know this isn’t true.” He wants to make the other person “just believe we’re new.”

In the chorus, the narrator knows the other person will fall in love, the stars will shine over them but “another one falls apart.” He wishes the other person was still his even though they said his “love declined” and points out that the song’s subject still has his heart.

He goes on to stay that he smiles “kind of” as he still hopes for love for the other person. He wishes them “all the best that we could never hold.” At the end of the song, he says he has learned through pain and “I can be so cold.”

“Sunrise On Volcano Beach” comes to life as an engaging, mournful ache flows from far off, delicate synth as planing chords swirl and clean synth cuts in with a brushing touch Misty synth climbs in cloudy billows before a taut, raised arpeggio twirls high above sizeable retro drums throbbing along with uplifting bass.

Diamantine synth carries a melody that breathes with affecting emotion while sparkling high notes hover. Massive drums keep up a shaping pulsation while gossamer synth carries a more encouraging melody, becoming positive and uplifting before the track ends on starry arpeggios and the sweep of waves on sand.

Conclusion

Sundown On Volcano Beach mingles richly layered synth, compelling vocal performances and emotive songwriting in a deeply pleasing way. The guest performers add an additional layer of quality to the music and the whole album is one with a great deal of re-listening potential.