LIGHTSPEAR - Motor

Review by Karl Magi

Overall Album Impressions

LIGHTSPEAR’s Motor is a lusciously interlocking synth tapestry that explores all of the facets of cars and what they mean to enthusiasts. LIGHTSPEAR combines emotive melodies, fascinating synth textures and powerful low end propulsion on Motor. The end result is an expressive musical journey that keeps me engaged as I listen.

Melody is something that never fails to draw me into music and LIGHTSPEAR has crafted some truly pleasing melodies on Motor. I especially enjoy how he leavens the rushing intensity of the music with melodic content that is melancholy or full of longing. It creates a balance that I quite enjoy as the album unfolds.

There’s an auditory depth and layered richness on Motor that lends the music a great deal of sonic power. The synth sounds range from delicate to robust while the tones run the gamut from ice cold to solar in warmth. All of these complementary or contrasting elements combine into an ear-grabbing totality on the album.

I want to give special mention to the percussion and bass on the album. They have massive presence and propulsive life that adds to the accelerative and energy-filled nature of the music. I enjoy the way in which the low end interacts with the other elements through the tracks.

My Favourite Tracks Analyzed

“Motor” comes to life as a delicately ringing bell-like sound flows steadily into open space. Tiny synth motes shimmer with fragile, tentative motion in the distance. The narrator talks about his love of cars, night driving and speed in deep, rich tones.

Widely turning arpeggios spin and chimes glissade with sparkling ease. The narrator has an engaging tone as he speaks passionately while arpeggios dance and bright notes twinkle. Now powerful drums pulse onward and a creaking, sharp-edged synth insistently vibrates as tautly spinning notes move.

Shining synth with a string-like quality sings a dynamic, ear-grabbing melody as piano notes form a drifting pattern. Twisting, high synth calls out as arpeggios turn. The low end pushes on while raised strings exude ear-pleasingly radiant energy. Bending, wandering synth calls out in an urgently rushing pattern and bass pulsates heavily before falling silent along with gliding, metallic notes.

Cars rush past on the highway before deeply rippling arpeggios move along with brightly jangling, metallic bells to start “Route.” The arpeggios add rich texture as truly massive drums form a powerfully throbbing beat. Slightly gruff synth chords flare into the music above the elastic drums.

Chimes spill out sparkling light, adding superb lustre and metallic sheen to the music. Below the other elements, bass undulates in waves while the hard-hitting drums keep up their unrelenting motion. Effulgent chimes carry a melody that makes me feel victorious and alive while full notes twinkle and angular bass rebounds as trumpeting chords leap out.

A kick drum throbs and a nasal, gently unwinding synth drifts dreamily while vaulting, gleaming arpeggios flow. Nasal-sounding synth calls out with wistful emotion and illumination flashes from wandering, soft-edged synth as bass oscillates slowly.

“DeLusion” opens as windshield wipers swish rhythmically and a background drone becomes a steady flow. Tightly wound notes shimmy as flat percussion bursts out underneath. A distorted synth carries an enigmatic melody while metallic trickles move through above the punchy drums.

Clean, sharp synth carries a majestic melodic line before becoming haunted and mysterious again. There’s yearning emotion in the melody, adding a touching quality to the track that I find charming.

Rippling synth motes spark in a steady pattern and gigantic drums explode with broad force. Now resonant notes move as glimmering synth repeats a taut pattern and springy sounds tremble. Soft-focus synth carries the ghostly but noble melody before silence falls.

F1 cars howl around a track to open “Formula” before the sound of breath is joined by jazz organ notes with a bell-like resonance. Trickling chimes flicker and brassy notes cry out in the background, unctuous arpeggios spin and razor-edged bass thunders as fat drums explode.

Giant-sounding notes surge before a silky smooth, medium-high synth carries a melody mingling intense energy with pained emotion. Sharply slicing notes rebound in the background. There’s a wonderful, lambent life in the melody as tumbling, bursting synth leaps out.

After a sweeping synth cries out, taut notes flit past and heavy drums pound. There is breath again before the shining synth melody keeps up a sense of dynamism above the huge bass surge and silence falls.

“Track” commences as enormous bass rumbles below distantly floating chimes that wander quietly. Soothing notes arpeggiate and hard-edged bass growls in waves to create an excellent contrast. The bass becomes a powerful oscillation as chords exuding brightness flash out.

A snare drum adds shaping influence to the dark bass pulse and piano-like notes create a feathery pattern with a hopeful quality. The piano melody has a lost and wistful character while the underlying chords provide noble sensations. Now the bass scuds along rapidly with a shadowed feeling and the drums skip easily.

Rough-edged, gleaming notes have a melancholy tinge as they shift and the piano drifts past above rushing bass. The gruff synth that winds through carries a longing melody feeling as the backing chords generate majestic sensations.

Filigreed synth interweaves as big drums thud and radiant illumination spills into the track. Sharp notes cut cleanly as drums collide and golden synth sings a pained melody while drums rebound. There’s a deep ache in the lead synth while the low end powers onward to an end.

A hazily floating synth is tinged with arpeggiating notes flickering through it to start “Rust.” Softly slipping, elevated synth threads drop in before a ticking hi hat is joined by pulsating, dense bass.

A snare drum kicks in to add more shape and the tensely shining synth carries a dynamically expansive melody. Chimes shimmer as arpeggios shiver and medium-high synth vibrates with a brilliant light. A flashing synth pattern lends active energy while the percussion pushes on and bass surges.

The broadly trembling, medium-high lead synth has a pleasingly energetic quality to it. The narrator speaks with nostalgia about a beloved family car and her family’s experiences, sadness about the state of the car but joy for the memories.

Conclusion

Motor carries me away on a intensely interwoven synth journey, full of nuance and auditory detail. This is synth music that roams across a broad landscape of emotion and instrumental complexity and draws me in more deeply with each listen.

LAU - Circumstance (Take Two)

Review by Karl Magi

Overall Album Impressions

LAU’s Circumstance (Take Two) carries listeners on a journey through the emotional complexity of a love challenged by distance and uncertainty. LAU and her musical guests create music that is impassioned, expressive and ear-catching. Lyrics, vocals and synth layers interweave to create music with depth and intense feeling.

Lyrics and vocals combine to superb effect on Circumstance (Take Two). LAU’s songs explore the full range of emotions confronted by people sharing a long-distance relationship in their lyrics. All of the vocal performances by LAU or her guests cut right to the heart of the matter with powerful expression.

I am enthused by the way in which LAU has brought together such a deep talent pool on Circumstance (Take Two). All of her musical guests bring a unique sensibility that lends breadth and power to the songs. I enjoy hearing their interpretations of LAU's songs and how each artist adds a fresh flavour to the music.

Each synth choice adds to the album's sonic richness. The tonal ranges, timbral qualities and musical textures are woven into a luscious whole. Each element enhances the melodic and harmonic beauty in the songs and brings out their emotional core.

My Favourite Tracks Analyzed

“Undecided” begins as flowing air moves smoothly, joined by synth with an orange glow as clapping percussion mingles with throbbing bass. Jumping drums support LAU’s strong and expressive voice as Melissa McNaught’s chorus moves around it while chimes shine.

The vocal melody is hopeful and tentative at the same time as a steady synth pulse skips while chimes sparkle. The chorus rises with strength and heart as luminous, medium-high synth chords call out. Now Melissa McNaught’s voice has a tender tone as bending synth wriggles.

After a robotized voice, Oliver Payn adds his caressing tones as raised synth glistens and the full-sounding synth chords add more brilliance to the music. Melissa McNaught fills her voice with a mixture of need and tentative feeling.

LAU’s voice climbs with the other voices in harmonic richness as the drums and bass form a guiding pulse. The chorus sails up high, emotion pouring out, as the percussion bursts. Melissa McNaught lets her voice arc upward and the track ends on lush synth.

Our narrator is willing to take on the sadness and worries of the song’s subject but “it’s been a while and you’re undecided.” There’s a fear that the song’s subject might fade away. She’s willing to wait for the other person to be with her “even if time isn’t moving fast” since they connect so well. She adds that “I don’t wanna keep loving undecided.

The connection is fresh and new but the storyteller says that “I don’t wanna feel so overexcited If I’m not gonna see you soon.” Now she’s waiting to get a call from the other person who knows that she’s there waiting. I enjoy the lines, “Give me your fears and bury the past. Can’t you see you’re made of glass?”

Our tale’s teller will illuminate the song subject’s grey skies and imagines the two of them as they “chase the clouds and dance in the rain.” However she has to keep wondering about the other person’s commitment, trying to be patient as she reminds them “you know that I choose you, don’t wanna lose you.”

In conclusion, she feels that she is waiting too long, asking the other person “Why is it that you’re so undecided?” All she wants is to be with the song’s subject, not to be overexcited because “I don’t wanna keep wondering if you love me, tell me what you feel right now.”

Broad-sounding bells carry a yearning melody out over easily skipping drums and flowing bass tinged with digital sparkles to open “Give Her Your Love.” LAU’s voice is lightly touching and dreamy, carrying the energizing and positive melody as tambourine tickles the music.

A guitar adds a touch of gruffness as the bells dance and undulating bass ripples. Emma Ballantine’s light and soothing voice carries the uplifting vocal melody out over strong low end muscle. There’s motivation and joy in the lyrics as the guitar leaps with wonderful, unstoppable energy.

Now chimes trickle as the song flows into a swirling, misty effulgence and the percussion drops out. The two singers entwine their voices as metallic, gleaming arpeggios spin.

The guitar jumps into a solo full of aspiration and reaching energy as it flies on musical wings. The main synth melody carries radiance and happiness within it as the vocals climb higher with irrepressible expression and the song ends.

Sometimes a person comes along who fits us perfectly and brings us to life. In this song, the narrator is encouraging the song’s subject to accept that person’s love. When the song’s subject’s feeling discouraged, the narrator reminds them to “look into her eyes and realign” because they can’t fight life’s tide. Instead she tells them to "find the fire, get ignited.”

To have found a person who makes them “feel brand new”, our storyteller reminds the song’s subject that they must have been doing something right. The song bursts with encouragement for the other person to “give her your love.” Nothing will make the song’s subject more joyful because of the time they took to find their love.

Although we all run the risk of getting hurt, the narrator encourages the other person to have an open heart. In the midst of being “all alone, nobody there at home” the song’s subject can still a sense of fresh love “just like you’re seventeen.”

As the song winds down, the teller of the tale points out that when they get together “nothing really matters.” The song’s subject was alone and lost until the other person came along and “now she has become your world.”

“Broken Hearts” starts out as flashing luminosity leaps from wide-sounding chimes as dense bass supports the encouraging chords. Fat drums rebound as LAU’s engaging voice echoes with intense feeling as the drums steadily rebound and the synth chords yearn upward.

Kidburn’s voice is full of feeling and gently winds around the listener’s ears, carrying mingled ache and supportive expression with skill. The chiming notes have a solar flicker in them as smooth retro drums bounce.

Shining, glossy synth chords sail out as Kidburn and LAU share the vocal duties, the guitar unfurling as it sobs and then arcs skyward above the solid drumbeat. The two singers pour out aspiration as the lyrics urge a move towards more positive thinking.

Sometimes in life, it is all a matter of getting the right perspective. The teller of this tale reminds the other person that only they can know what’s really going on inside their heads. The song’s subject wants to let go of everything, but the narrator asks, “Are you really fine?” They add that life feels “contrived” for the other person who needs to take some time.

Our narrator points out that the song's subject feels like they are falling each time they shut their eyes to sleep. The teller of the tale adds, “You wonder now how many broken hearts you can recall.” The other person tried to take a quick way out but survived against the odds.

Our storyteller goes on to remind the song subject that if they don't try, they'll never know. They go on to say "you wanna dive in, you wanna try to fall back in love” and they encourage the other person by pointing out that they’ll find someone with any luck. The narrator concludes, “hold your head up, you’re gonna be fine somehow, try to see the world with different eyes.”

An illuminating synth cloud glows in the background while gargantuan bass undulates and big retro drums burst to commence “What To Do.” A synth rises in radiant trembling motion as LAU’s ear-pleasing, enfolding voice also rises, carrying a melody that is wistful and hopeful.

Natalie Gray adds her own deeply emotive vocals as the massive low end throbs and synth flares out. Vibrating synth lines pour out intense shine to lift the mood of the song. Natalie Gray’s smooth voice glides with silky expression and soulful feeling as lambent arpeggios twirl.

After a guitar flourish, Natalie Gray’s voice erupts with emotive power and the drums and bass drive hard. Rounded, warming synth chords swell up and LAU’s voice captures all the emotion in the lyrics. Drums fly in again and Natalie Gray and LAU bring their voices together in deep expression above the brilliant synth light as the song ends.

Sometimes emotional connections begin in ways that one can’t predict and adjusting to them is tough. Our storyteller has found a connection online and realizes that “this remote romancing is hard to maintain.” In spite of that, she can’t stop thinking about te other person.

The narrator asks the other person to tell her what to do with the love she feels and with her heart because at this point “I’ve got nowhere else to hide, I’ve got nowhere else to run.” She finds herself falling to pieces without the other person beside her.

Her mental state is fragile during the “complicated madness” of the relationship. She feels stifled by her silence and finds it hard to live with.

Ultimately the storyteller wishes they could pretend they were already together in person and “it’s like real life and we feel like we touch the sky and you’re mine.”

“Circumstance” begins as fragile notes shimmer out in a lightly touching arpeggiation. Deeply throbbing bass and tapping drums move below LAU’s broad-ranging voice as it carries an expectant melody above surging drums and bass.

Need and affection fill LAU’s voice as the scudding drums keep up their guiding beat. I Am Boleyn’s singing is rich and full of feeling as it effectively carries all the yearning and possibility in the lyrics. The giant low end pushes on while glistening synth twirls out.

LAU and I Am Boleyn interlock their voices and resonant chimes drift. The guitar soars up with intense emotion, flying high as the drums and bass press onward while the synths glow and we end on bells with ear-touching warmth.

The uncertainty of a remote relationship along with the anticipation of what is to come mingle for the narrator of this song. The “distant bond” they have is turning her world on end and “your love has got me tied up.” Now her heart is racing and she feels as if she has been "waiting for this moment all my life.” She hopes that the other person will meet her at the airport when she arrives.

While the unusual nature of their relationship is undeniable, they have to try to keep the connection going. The narrator asks, “Oh why, has life kept us so far?” She’s nervous about things but she still wants to take a chance on it. In her dreams, she’s felt the other person’s “fingers on my skin” and that thought has remained with her. She holds on to it with her heart racing as she has “been waiting for this moment all my life.”

In the end they are both about to enter “a new world undiscovered” and what will happen is indefinable so they both have to reach acceptance of whatever occurs.

Slowly and with melancholy, trembling synth chords move with delicate caresses as tender chimes sparkle to commence “If You Could Know.” LAU and Matteo Bertini mingle their first rate voices as they carry needy expression.

Steady drums pound and gleaming arpeggios twirl in time to the low end’s throb. LAU’s strong voice leaps with as Matteo Bertini’s deep resonance balances it as diamond chimes glide.

Matteo Bertini’s gruff voice erupts to support LAU above skipping synth oscillation and pulsing drums. The two singers trade parts as a wildly twirling synth solo glows and tumbles above the heavy drumbeat before the song draws to a close.

Connections that form, even mediated through the Internet, can be powerful and deep. The storyteller was captivated by the other person’s smile when they first connected “on a rainy April day” but now the song's subject is indecisive. Even so, she has agreed to wait as she anticipates how ““our hearts would melt and beat like one.”

All the narrator needs now is the other person’s “tender love” so that people would realize that they weren’t crazy. She has found her place “in the middle of nowhere” with the other person.

Her frustration is clear because the song’s subject is unwilling to change, making her wonder if its the right time or “is it better to wait and find another light?” She yearns to be near to the other person but she is so distant now.

Our storyteller knows that people are questioning if the other person is right for her but they “live in my mind just like a new song.” The doubters add that it is hard to make long distance relationships work but she’s used to it now. She concludes, “Give me all your loving tonight, baby don’t say no ‘cause I don’t wanna lose you now.”

“The Fire” starts as funky electric bass moves along with bright synth and a solidly throbbing drumbeat kicks hard along with the bass groove. LAU lets loose with passionate, heartfelt energy in her voice above the locked in low end.

Lessus’ gutsy and expressive voice carries the energetic melody as a nasal-sounding synth carries a jazz-inflected, whirling melody. LAU cries out as the swirling, dancing guitar deepens the funky flow.

The chorus rings out with arcing energy above the pumping low end as some disco strings jump in. Flashing lead synth sings with lively motion and horns flare with brassy radiance before the song ends.

After heartbreak, starting in a new relationship can be tough, but the song’s subject still wants to try with the narrator. They say that they can’t recall how it feels to be in love with someone. They're afraid to start the relationship and bring the other person down. He adds, “You never put your love on the line."

The storyteller explores their feelings of desire that are building up, wishing the other person could “just put out the fire.” Their feelings are undeniable and they shouldn’t fight them. They muse on why loving and finding someone to share our lives with is so hard. Our storyteller concludes by stating that “I think I can’t live without your love.”

Waves wash as serene synth arpeggios twirl to open “Different.” LAU’s aching voice is interwoven and harmonized with the other vocals as softly touching, delicate synth traces limns their engaging sound.

LAU’s enfolding and calming voice carries an aching melody above the undulating arpeggios. Quick synth shimmers flicker and punchy drums kick in while arpeggios spin out. LAU’s powerfully emotive voice flows and Heartracer’s voice is rich and pained as it carries the needy melody.

Synth flashes with radiant light above the strong low end while the lush arpeggios turn. A sax calls out, reedy energy deepening the song’s melancholy. Heartracer’s voice captures all the yearning in the lyrics as they move through the song.

Even when a relationship is in difficulty, a deep desire for connection can still exist. The narrator felt so alone without the song’s subject in her life, even though they are different people. She says “I can’t argue with fate” in that regard. She wishes that the other person wanted her because “I can ease your pain.”

Our narrator realizes that their relationship’s “a long shot” but still wants to give it a try. She understands that the song’s subject might find the idea crazy but says “I know that I want you and I want you to stay.” The other person’s presence grounds her and completes her.

If the song’s subject is struggling, she will try to help them heal and get stronger. She adds that “I’m almost someone else” when she is with the other person. She knows that she’s willing to try with the other person. They are now far apart and the storyteller can’t forgive herself for hurting the song’s subject.

In spite of that, she feels it may have been for the best, adding that she might be losing her mind but “I know that I want you so I’m coming back.”

“Instant Sunshine” starts as clapping percussion moves from muffled quiet into active disco motion. LAU’s voice bursts with her signature power as bass undulates underneath. Deep, funky synth and sunny chimes flash as Alessandra Boldrini’s passionate voice joins LAU’s to add heartfelt energy.

The disco vibes are massive and propulsive while the percussion drives. Metallic chimes flicker and Alessandra Boldrini’s voice is wonderfully full of intensity and affection. The motivating chorus lifts the song’s energy levels sky high. There’s groovy joy in the thumping disco beat that launches the music forward with funky and fun dynamism.

Alessandra Boldrini’s soulful delivery matches LAU’s as rapid synth cascades. Now Alessandra Boldrini adds a rap segment and swirling synth moves past as the chorus bursts out. The guitar unwinds in a dynamically tumbling cascade and the music ends.

Sometimes desire and yearning build until they are hard to contain in a long distance relationship. The storyteller asks to be told a “hopeful lie” because she doesn’t want to be innocent. Her desire is strong and she can feel the other person’s presence. She says that “distance is always known to deepen the surprise” of meeting the other person and she promises to get to the other person “like the speed of light.”

Our narrator says that the other person brings “instant sunshine” to her life. All she can do is fantasize because words won’t suffice. She hopes the song’s subject will love her for one more night. The narrator wishes to fly to the other person because “I just can’t wait so long to have you in my arms.”

She has waited months for them to come together as she’d rather not be by herself. She has no intention of letting the other person go now. She concludes, “I’ll admit you’re on my mind but our love’s still undefined and I just keep counting time like 1, 2, 3, hey.”

Gently gruff synth carries a melancholy melody to open “True Colours.” LAU’s vocals are caressing and soothing as flaring chimes gleam. Powerful bass throbs along with gigantic, rebounding drums. Radiant arpeggios twirl as LAU’s voice carries the warming vocal melody, rich with encouragement and gentleness.

Glimmering arpeggios tremble and the tremulously emotive melody calls out. Minute Taker’s tender voice carries the melody as it spreads deep love and appreciation. Colossal drums rebound and effulgent arpeggios continue to spin. The two singers create heartwarming harmonies as their voices intermingle and rise together.

The song conveys a positive message as arpeggios add more luminosity. I enjoy the way the two vocalists manage to create a real sense of connection backed by musical depth. Chimes flicker along with Minute Taker’s voice as it drifts out. LAU’s voice joins again as the guitar glides out in a solo that has soul and depth before silence falls.

In the face of life’s challenges, sometimes one has to show their true inner strength. Our narrator tells the song’s subject not to lose heart in a complicated world, even when “the darkness inside you makes you feel so small.”

The storyteller can see the song’s subject’s “true colors” as they shine through and reminds the other person to let them show. They point out that those colors are “beautiful like a rainbow” and wants the other person to show their smile.

Now the narrator asks the other person not to be sad because they haven’t heard their laugh in a long time. They remind the song’s subject that “if this world makes you crazy and you've taken all you can bear, you call me up” as they’ll be around and see the other person’s true colors shining.

Conclusion

Circumstance (Take Two) starts with the strong basis of the original album and takes it to new heights thanks to the musical support of the #synthfam. The amount of talent, added to her own abilities, makes a powerful impression on me here.

Matt Goodluck - Inner Cosmos

Review by Karl Magi

Overall Album Impression

Matt Goodluck’s Inner Cosmos takes listeners on a journey through cinematic soundscapes while exploring a lusciously varied synth palette with nods to composers like Vangelis and Edgar Froese (of Tangerine Dream.) The result is an album that is complex, layered and ear catching.

Inner Cosmos is full of intense imagery and atmosphere, skillfully created by Matt Goodluck. There’s a sense of occasion in each track, layering together well-constructed pieces into a deeply engaging whole. I find myself traveling across the stars and through cyberpunk dystopias as the music unfurls. There’s nuance and depth in abundance here.

Matt Goodluck’s talent for writing synth-based music is clear in his ability to layer and combine a plethora of synth sounds to paint the mental imagery that fills his compositions. I enjoy how each individual tonal colour, timbre and texture wove together to enhance the emotional qualities and images on each track.

I also enjoy the way in which Matt Goodluck was able to pay homage to the synthesizer composers, who have influenced him, well, while still retaining his own unique vision and sound. It's always heartening when a composer is able to respect those who came before them while forging a new path.

My Favourite Tracks Analyzed

“Arrival” comes into being as edgy, threatening synth sweeps in a slicing line while wobbling, elevated notes ripple. Dominating bass oscillates with angular weight to deepen the sense of lurking danger.

Flashing broad notes glide out above the giant bass walls and hollow sound like a launching craft fades into silence. The impression of alien threat is powerfully created, starting off the album well.

Entangling synth tumbles with an intense gleam above rumbling bass depths to open “Dreaming.” Radiant, metallic synth cries with piercing light above the intertwining synth as it pours out energy.

The bass becomes a colossal throbbing heartbeat below medium-high, flaring synth. I am drawn to the way in which the lead synth creates a melodic pattern shot through with hope.

Wind sweeps as the bass briefly fades out before returning with trickling chimes that glint with sunlight above an active bass. Ethereal synth briefly adds a delicate quality as the chimes ring out.

Sharply piercing synth cuts in as the airy, fragile synth breathes out meditative gentleness. Bass ripples and adds shadow while scintillating notes flow into silence.

“Outer Limits” opens as a hang drum rings out into a shifting sonic drift along with rounded sounds. Elevated synth shines while gargantuan bass swells with a rough edged buzz that has a dangerous quality to it.

Gleaming synth glides with brittle, sharp-edged light above the massive darkness below it in a well-crafted contrast. Reverberating metallic notes move out into vastness as silence falls.

Airy bubbling is touched by fluttering static as huge bass towers up with great weight to commence “Interstellar.” Soft-edged, fragile synth slides past as breezy notes sweep. Trickling notes move past and wide, washing synth arpeggiates as one long, hazy sound glissades below.

Oscillating synth shifts while rippling notes flit. The background layering creates an unctuous, calming canvas that I find wonderfully tranquil. Shiny notes rush quickly rush while tautly trembling synth is joined by truly colossal bass. High, twisting sounds are joined by tender, aching synth with an orchestral quality.

Bright notes leap and bubbling sounds keep welling up. Galactic drifting permeates the music as darkly angular notes pop in while shadow fills the low end. Massive power throbs and delicate notes exhale into silence.

“Conspiracy” starts off as rumbling bass joins splashing synth that wanders as gossamer notes breathe out. Shining synth illuminates the other musical elements with clear light.

Hollow, metallic notes roam and radiant accents flicker while starry, elevated notes rise to ear pleasing effect. A voice over talks about CIA experiments as shimmering synth flows.

Splashing, open voiced notes trickle and airy exhalations delicately glide as sharply piercing light flows in. Steadily ticking notes move while a retro radio voice speaks.

Fragile synth washes through as flickering notes slice and fade. Hollow synth roams freely and trailing vocal sounds shift. Choral synth creates a meditative sound while far off notes rise and the entrancing pattern falls silent.

Twanging guitar breaks through the threatening, gigantic bass that flows in broad motion to begin “Night Of Anubis.” Nervously tumbling arpeggios whirl and tight, worried notes slip past.

High, seething sound moves and echoing, elevated synth drifts in wandering lines. A voice over gives the audience advice about eradicating ghouls by killing the brain.

Rushing arpeggios add to the tension and ticking sounds increased the urgency. The music skilfully generates a terrified sense of anticipation. A steady, high sound screams and buzzing darkness surges while a much gentler, more tragic synth calls out before the track fades into silence.

“Into The Blue” comes to life as a surging cacophony of voices mingles together into one chanting line. Piano-like synth roams in mesmerizing motion before gently caressing, lambent synth carries a calming melody above the wandering, undulating piano.

Razor-edged sounds slice while a reverent feeling flows in the airy background synth. The main melody has a soft touch despite the gleaming light pouring from it.

The slipping background pulses steadily and the piano adds shape while wind floats past. Worshipful synth moves with a choral sound that effectively deepens the music's ease.

Glistening synth rings out in a peaceful melody and rushing sounds intertwine in the distance. A bubbling pattern shapes the music and ocean sounds flow into quiet.

Luminous synth moves slowly, vibrating with hazy motion to open “Atlantis.” Vast bass begins shaking below with dense strength as glimmering synth echoes out with a tremulous intensity.

Rich bass undulates with muscled depths below delicately gliding notes carry a melodic ache that travels through the track. Digital notes trickle as aquatic sound ripples past, lifting me on a turquoise current that puts me in a easy going mood. A vocal sample speaks of lost Atlantis above smoothly rounded bass as glassy synth shifts.

The vocal sample tells of the awful destruction of the city as open synth echoes with a distant, lost feeling. Aquatic notes also move past while sharp-edged strings cut in. The vocal sample speaks of Atlantis rising again.

“Neon” starts as roughly growling bass fills the track as a flat sounding synth arpeggiates. Wind blows and dazzling synth chords add lustre as they echo into openness.

Xylophone adds a shiny, darting accent that rises and fades above the twirling arpeggios. Peaceful synth calls out, creating engaging tranquility as buzzing sounds move. Tentatively lambent synth is touched with glowing chimes while shadowy synth shimmies and bass wells up.

There’s a deeply soothing feeling in the glistening synth, relieving stress as chimes add radiance. A technological sounding synth pulses in the background. Keen-edged synth adds more intensity and silence falls with the sound of traffic.

Rain falls softly as delicate synth swirls and drifts in roaming lines to begin “Deckard’s Requiem.” A steady gleam fills the background with caressing radiance that permeates the track.

Digital sparkles flit past as lush bass rises up elevated synth slowly undulates. There is deep calm in the rounded, xylophone notes that slowly flow out, effectively imbuing the music with melancholy peace. A rich bass current slips past as trickling notes ripple.

Ethereal synth trails along with an aching emotional tone as distantly spinning notes sail out into the misty rain, falling onto iridescent pools in a Blade Runner dream. There’s meditative qualities along with a mournful tone.

“Voyager” comes into being as dense, massive bass rumbles with a shivering crackle as cosmically bending synth shifts with tentative ease. Soft-edged synth brushes while reverberating piano carries tender notes given a touch of strangeness by squelching sonic flows.

Looming bass creates an impression of the unfathomable darkness in outer space. There is a pleasing contrast between terrifying power and untethered wandering while radio transmissions crackle out.

Tapping notes, along with twisting synth trickles and bells, ring out as percussion shimmies. Digital sounds are touched by piano notes slipping past while intimidating bass shadows rise. High chimes flicker while a skittering synth is accented with metallic tapping before the track ends.

Conclusion

Inner Cosmos is an expansive and exciting journey through Matt Goodluck’s fertile imagination. I enjoy coming along with him as he deploys his synths to create “head films” that are full of interest and passion.

WOLFCLUB - Desert Hearts

Review by Karl Magi

Overall Album Impressions

WOLFCLUB's Desert Hearts mixes passionate vocal performances with well-crafted lyrics and a deeply engaging synth palette. This is music with depth, intensity and a pleasing retro vibe wedded to crisp production. WOLFCLUB also takes on board talented guests who add even more richness to the music.

All of the vocal performances on Desert Hearts are first-rate. The group’s main vocalist, Stephen Wilcoxson, has a voice with a broad range and emotive power that can soar or ache with equal strength. The guest vocalists all bring voices with unique sounds and expressive depth to the mix, increasing the album’s ability to touch the listener.

Themes of love, betrayal, desire and loss fill the song lyrics on Desert Hearts. There’s a pleasing blend of darkness, evocative imagery and conflicting emotion within the words of the album. I enjoy the clarity and emotional power in the writing and how well all of the vocalists can translate those elements into audible feelings.

WOLFCLUB’s synth palette adds colour and vibrancy to the songs. Each sound is well-calculated to add to the expressive nature of the music. There’s a rich variety of tones, timbres and auditory signatures that interweave into lush tapestries as they twine around the vocals that are at the album’s heart.

My Favourite Tracks Analyzed

“Crystallise” comes to life as razor-edged, elevated synth leaps in sharp undulations above a chest-pounding kick drum. The synth pattern has a shattering clarity as it cries out with intense feeling while the snare drum slams. Guitar tangles in flaring motion, while bass roars along with hard hitting drums.

The female singer’s voice is flowing and expressive as it carries a melody mingling uplift and memory. Drums collide with tremendous power as the bright synth tide flows in entangled lines. Desire wars with loss in the lead singer’s voice in a pleasingly powerful manner.

Intensely pulsating notes fly out as the female singer expresses yearning emotion while the low end surges with sinewy strength. The guitar has a lightning dynamism as it jumps out above the massive muscle that propels the song with synth radiance glowing in the background. The lead singer imbues her voice with passionate feeling as the song ends.

The storyteller speaks about being able to “see…breathe…feel” the other person but she adds “then we both go and hide in the dark.” She goes on to say that the song subject knows she’ll break their heart. She says that they can run and hide but it doesn’t make a difference because “it’s all just a matter of luck.”

Our narrator points out that she has know the song’s subject for many years. When they were together, the other person was hers and their relationship was shared but “it all passed away into dust.” She is looking for a brief contact “to get high, to get by” and to recall that all of us are “just a shadow of love.”

She reminisces about being out in the night “when we were alive.” There was nothing but secrets and our storyteller asks how they can hide “in the lie of a kiss.” She blames the song’s subject for being the cause of the situation and now she can only dance alone. Seeking in the darkness, she fights to reach “the fire of the night of a kiss” which is the “only reason its like this.”

Reverberating, trembling synth weaves a warm, tangling flow above luscious bass sailing beneath it to begin “Journey To The Second Sun.” Stephen Wilcoxson and NYRE’s voices call out with an enfolding melody, echoing as a thudding kick drum supports flickering metallic synth.

The vocal melody holds need and wistful longing together, carried on the emotive vocals. Guitar flies in now, full of hopeful energy that flashes out above the powerful drum and bass motion supporting it. The guitar wheels through the music, slightly gritty as it spins out an energizing solo while drums pulsate.

Brightness flares from the guitar’s impassioned cries as radiant synth intertwines. The vocals capture all the mingled emotion pouring from the lyrics while a deep yearning permeates the melody.

This song’s lyrics speak of “falling through dust and through satellites (like) the second sun in a violet sky.” The lyrics ask if the narrator can go and if the darkness is the song subject’s home. Now a “rainbow of gravity” rips into the night as UV light is holding tight. The lyrics go on to speak of how the other person shows “light years of being alone.”

Now the lyrics talk about how “reflected, broken mirrors” cut the storyteller’s heart through the stars “on their solar wind.” In the chorus, the words speak about a second sun, adding “you can journey here.” The storyteller has lost their love but has the song subject’s to give. The song also speaks of how the main character lost their life but “I’ve got yours to live.”

In the final verse, the song says that its subject is in the narrator’s heart “like a chemical” and is in their veins as “the pain that I think I want.” The lyrics speak of a “desert heart” that’s like a smashed atom bomb, a heart whose “ventricles, they extend, through the universe.”

Widely glittering synth sweeps into a melody touched by wistful emotion despite its intense shine to start “Desert Hearts.” Dora Pereli’s voice caresses my ears tenderly, carrying a dreaming melody as a snare drum rattles in time to her singing.

In the background, luminous synth threads intertwine and provide a supporting lattice to Dora Perelli’s emotive vocal performance. Bursting drums accent the lyrical delivery, adding punctuation along with a growling guitar line. A gently longing quality fills the vocals in contrast to the drum pulse.

Medium-high, glistening synth leaps out in a melody that is touching and tranquil. Dora Pereli’s full voice glides along with expressive feeling and the drums keep throbbing. Broad-sounding guitar entangles with glowing synth and the song ends on flickering light.

Our narrator speaks of watching as time blurs together while she moves “from life to life just trying to re-connect.” She talks about detesting the ruins of her home town but adds “it’s a place to hesitate, or it’s a place to rest.”

The storyteller feels imprisoned by past desires “in the spare bedrooms” as she screams while her lungs feel like "two burst clenched balloons.” She describes her lips and her heart as muscles able to speak to the other person like “a prayer into the desert of a distant moon.” She adds that the other person’s heart is a muscle but hers is “untouchable” and can’t be stopped.

She says that she has seen the “ truth of the horizon lie” along with the ways to come and go into and out of life. Her tears “deliver the mascara stain right out of my eye” and in a flash she has come to know “the feeling of a passer by.”

“Restless” begins as rapidly trembling synth oscillates below a melody that flashes out with an intertwining gleam as the bass tumbles below. A bursting drumbeat throbs as a flickering synth shines out with gentle light.

A string section sings out a pained melody as Steve Wilcoxson and the female vocalist mingle their voices in a majestic and aching duet as the guitar pines away above powerfully pulsing drums. The two singers have wonderfully well-matched voices that drip emotion from every syllable.

Sparkling brilliance suffuses the strings as they flow above the propulsive rhythm section. The heartfelt vocals blend again as strings wind out with need and loss filling them. The guitar arcs upward and the drumbeat shapes the track before it ends.

Despite their restlessness, the song’s subjects “have never been so far.” They may be reckless but “we’ve never been so lost.” The narrator says that the other person thinks it's okay to walk away and “take the night in another direction.” He adds that the song’s subject wants to run so he says “I’ll take you home but I’ll never forget you."

A charging guitar cries out with gruff edges above a pulsing bass oscillation that scuds underneath it to commence “Shoreline.” Punching drums add dynamism as the guitar cries out. A female vocalist opens with her lighter voice and is followed by Stephen Wilcoxson’s intense vocals as fiercely throbbing drums and dense bass press on.

Both singers let their voices climb skyward as a guitar adds snarling power and the low end surges. A sax lets loose in a jazzily impassioned line that swirls with abandon above the low end’s forward motion. The female vocalist’s gentle but intense vocal is again followed by Stephen Wlicoxson belting out the lyrics as the drums and bass charge.

The sax howls out with reedy energy that reaches high as the slamming low end keeps on driving. There’s a powerfully compelling energy in the sax solo that makes my heart soar in contrast to the darkness in the lyrics.

The narrator speaks about “paying cash at the hotel” and the other person saying they wouldn’t tell but when the song’s subject stepped through the door, the room was empty. He is staring at the ceiling in disbelief and then the other person tells him that they’re leaving.

Our storyteller says that they were “caught in a fever” and then the other person called him a liar to pour “gas on the fire.” He talks about a “heart tangled in wires” that was illuminated by desire. Now there’s a stolen car with a broken windscreen and a frozen engine that makes him realize it’s over.

The narrator tells the other person that they can “melt me to my core” as he screams for more. He asks the other person has found what they are seeking. He has been “dragged down” and left torn by the other person’s crashing wave.

Again he asks if the song’s subject knows what they are searching for. He adds that he’ll race them to the shoreline as it is “meeting up with the skyline.” He says he walked away for the final time but asks ”Can we say it’s the last time?”

The storyteller talks about a distant place that they already missed. The other person claims it never existed. He feels that they just “missed the exit.” He speaks of seeing a face on a billboard that was torn, “ sun-drenched and forlorn.”

The woman on the billboard had empty eyes, full of boredom. He says that he could tell she’d hate being stared at by strangers. She lead a life that was complex and her “dream was so faded.”

“Call Me At The Weekend” begins as a hi hat clashes while a muscled drumbeat reverberates and drives on. Rich bass flows as a blazing brilliance pours from a medium high synth and guitar flashes as Stephen Wilcoxson’s voice calls out with affection and impassioned intensity.

Drums explode outward as tangled guitars radiate blinding light. The echoing chorus floats, carrying an encouraging melody through open space. A guitar slices in a flaming line that kindles hope and joyful emotion in me with pleasing energy. Huge drums rapidly pulse in an uneven pattern and bass growls far below.

SW’S voice has an expansive, expressive quality and the vocal melody captures anticipation and a melancholy pang. The vocals are matched by the guitar’s coruscating gleam and sweeping synth while bass flows outward. Sunbeams flit from elevated synth as the song ends.

Hope fills the narrator’s mind as he asks the other person to call him on the weekend so that they might drive all night. He asks, “Do you think that would be fine?” He says that if the song’s subject calls him they can go away together and he’ll “go wherever you will stay.” He asks if the other person thinks that’s okay.

The storyteller wonders where they can go to stay the night and “lose our heads and track of time.” He also ponders where they might go in order to “find our minds and build the fire in our eyes.” If the song’s subject calls him, he wants to “slip away into the sun” and tell no one. He asks if the other person thinks they can run.

As the song winds up, he points out that if they leave on the weekend, he’s never going back but will take “another track.” His final query for the other person is “Do you think that makes you sad?”

Colossal bass shifts with a smoothly immersive flow that is touched by glistening synth delicately brushing by to open "I Thought I Saw You.” The bass moves forward and bouncing drums create an energetic lift. Stephen Wilcoxson’s broad ranging, emotive voice carries a melody full of painful nostalgia.

The drums and bass create a surging tide and now the vocals rise with flaring light and piercing loss. The drums batter precisely as Stephen Wilcoxson unleashes his entrancingly expressive voice to capture thwarted aspiration. Widely flowing synth with a string-like quality oscillates while gigantic bass pulsates.

The low end adds support while Stephen Wilcoxson pours out his soul into the lyrics. Shining synth falls through the track and the chorus is heavy with separation and broken dreams. The track's low end throbs with immense strength as the song ends on twinkling light fading away.

This tale’s teller says he thought he saw the other person on TV in a crowd but it was low light and they didn’t turn around. With a seeming sigh, he adds “I guess I’ll never know if it was you.” He thinks he heard the song’s subject in a crowded space but it was a “quiet echo, it was gone too soon.” He adds that he wasn’t able to catch the other person’s eye and once again he doesn’t know if it was the other person.

Our narrator says that he doesn’t remember their relationship some days and he’s alright for a moment. He adds, “Even though you’re gone, I still remember what it was.” The pain returns when he realizes that “they” took away the narrator’s ability to “hold you in the night, and kiss you in the morning” without any warning or any reason.

He isn’t sure he can keep repeating the pain of remembering. All he wants to do is run away with the other person and dream of the future. Someone has taken all of their love away and “now there’s nothing else but sorrow.”

Now the storyteller thinks he saw the other person in a dream which is another place they are meant to be. He woke up and now he realizes that “I guess I’ll never know if it was you.”

“Crash” starts off as delicate piano trembles while slowly sliding synth shifts and Stephen Wilcoxson’s limpid voice calls out as massive bass pulsates. The vocal melody is both affectionate and mournful as the bass throbs with gigantic power and the background synth whorls are tinged with effulgence.

The vocals echo out, carrying a heartfelt and aching melody in a way that draws me in. There’s a muscled strength in the bass that contrasts with the soaring passion in the vocals as the huge drums throb in a strong motion along with the bass.

Stephen Wilcoxson’s voice arcs out with intense emotion in every syllable as dominant drums thunder. Synth illumination flashes in a brilliant cascade and the bass rumbles far below before silence falls, sinuous shimmering filling the background.

Our narrator realizes that the trouble is that he needs the song’s subject and “trouble’s all I’ve ever had.” He makes it clear that the other person can stay around but they don’t have to but his “spirit slips into the sad.”

The storyteller feels that it’s a mistake for the other person to take a break from the relationship because "you know I still adore you.” His anxiety is that the other person will move on and meet someone new. He asks, “Is it better when I’m gone?” because he is having trouble telling if that is true or not.

“I didn’t want to crash” our narrator announces, adding that they could have turned or swerved. He wants to know if they can start over and “slow it all down at the red lights.” At the moment, he finds himself braking on wet roads, unable to see the corners in the dark night.

He adds that he didn’t think they’d crash and he thought they’d stay for the duration, but “it all went so fast and now I’m left lost in a part of the past.” He wants to see how the other person is doing but he knows “deep down it’s better not to.”

Conclusion

Desert Hearts is vocal synthwave with emotional intensity, vocal expression and lyrical depth. It flows along on a synthesized tide, full of a plethora of ear-catching sounds that grow together into a well-produced whole. I enjoy letting the music pull me in and carry me away.