Lost Decade - What It Was

Review by Karl Magi

Overall Album Impressions

Lost Decade’s “What It Was” explores love, loss, passion and joy through an innovative and intensely pleasing blend of synth-based music with funk, soul, hip hop and slam poetry. The band is anchored by Chenelle Roberts’ impressive vocal performances and supported by the musical talents of Derek Leugner and Brandon Smith. For this album, they’ve also assembled a stellar cast of guest artists, each bringing a unique style to the music. The intoxicating blend of nostalgia and modernity captivates me.

At the heart of “What It Was” is Chenelle Roberts. Her range is broad and powerful, capable of expressing everything from brokenhearted tenderness to soaring joy. She captures moments of soulful contemplation and belts out tunes with conviction. The way she uses her voice conveys the nuance and emotional depth of the songwriting, keeping my ears locked onto the beauty of what I’m hearing. She stands out as one of the most talented vocalists I’ve encountered in the synth-driven music scene in quite some time.

Derek Leugner and Brandon Smith weave musical tapestries that mingle funk, disco, ’90s freestyle rap, jazz and touches of synthwave. The result is music that calls back to the past while remaining fresh and energetic, gripping me with its lush dynamism. Together, they create a complex, layered soundscape with pin-sharp production. Combined with superb melodic writing and thoughtful detail, the end result is joyful and deeply satisfying.

Tea Fannie, aloT of Poetry, KTheChosen and Gbohunmi bring their indivdual charm and skill to “What It Was”. Each contributor showcases their own strengths and the way they integrate themselves into the emotional and musical flow of the record enhances the power and engagement of the songs as they unfold.

My Favourite Tracks Analyzed

“Set Me Free” commences as a shimmering note pattern sweeps upward, rounded synth textures trickling as Chenelle Roberts’ expansive, expressive and soulful voice carries the joyful melody with celebratory emotion. Trumpeting notes flash as a glistening synth broadcasts hopeful radiance.

Roberts presses the words home with power, her heartfelt delivery wrapping the melody around me. The drumbeat jumps with exuberance as confident joy pours outward. aloT of Poetry intensifies the feeling, adding another expressive layer. The funky, twisting main melody dances freely, filled with happiness and release.

Jazz influences add richness as exploding rhythm contrasts with filigreed sounds. aloT of Poetry’s spoken-word performance is rich and lyrical, capturing the song’s emotional essence. She weaves some beautiful imagery, speaking of never having known something "so beautifully terrifying" and describing how the air in her lungs tastes sweeter when she's with the other person.

I am enamored of her imagery, full of meaningful moments as she describes two people as "dancers in the moonlight" and talks of "symphonies between our souls.” I enjoy her description of their love as radiating "a light even Venus would envy.” Flickering notes caress my ears and the feelings remain strong and true as the song ends.

Although she doesn’t “know where you came from,” the narrator feels the song’s subject is a gift who keeps on giving. She’s not sure how they’ve taken her pain and “set it free.” The other person continues to elevate her and she can’t quite believe it. “Darkness has no chance against you,” as this person carries a light that illuminates her from within.

She adds, “Even when I drive you crazy, you keep on coming ’round and letting me be.” They’ll continue to fight for their love because it’s “pushing through for the world to see.” She’s got everything she needs and declares, “You take this love and you just let it free.”

After a distorted record scratch, a cowbell moves with a slowly wobbling synth before “1993 (Back in the Day)” starts. Chenelle Roberts’ voice is velvety, carrying a delicately emotional melody. The locked-in rhythm pops as a synth glistens with gentle luminosity while the underlying pulsation adds shape.

Chimes flicker and the spoken-word part showcases Tea Fannie’s smooth, rhythmic delivery as the beat adds form. Chenelle Roberts’ voice is breath-warmed and full of loss and dreamy remembrance, drawing me into the song. The beats are solid, with the metallic ringing of the cowbell adding energy.

The chorus contributes passionate emotion and affection. Scintillating notes descend before Tea Fannie adds her freestyling, creating joyful contemplation as Chenelle Roberts’ vocals intertwine with a silken feeling. The active foundation shifts and the music closes out with static.

As she reminisces, the storyteller asks if the other person remembers “all the simple days,” when they believed good things came easily. She recalls how they were “living it up another night, innocent and free.” Back then, she knew just what to do and her dreams were coming true. She adds, “I was so into you, all we had been through,” and longs to experience those feelings again.

“It’s nostalgic how I’m moving, the ’80s they be grooving,” she says, describing a moment in time she won’t lose. The memories leave her with a soothing feeling. “Yesterday was always fun, yesterday I thought you were the one,” though times have changed. Despite that, she insists, “I know just what we could dream.”

She recalls “making out for hours at the bus stop, holding hands at our favourite lunch shop.” She remembers cuddling for hours and how “butterflies got my stomach in knots.” In those days, she felt like “we could conquer the world and could care less what they thought.” Elderly people stopped to say “aww,” and she concludes, “Back in the day we did little, doing a lot.”

“Can’t Live Without Your Love” begins as a synth, lambent like city lights, joined by a saxophone carrying an upbeat melody. Chenelle Roberts’ vibrant voice vibrates with impassioned feeling as the catchy chorus bounces, the funky guitar line adding shimmying force. Once again, the saxophone erupts with unbridled positivity, singing the celebratory melody.

Chenelle Roberts’ performance is full of vibrant emotion, which I find intensely compelling. The chorus soars again, flashing with boundless happiness as the saxophone bursts with freedom and trickling, open-voiced metallic sounds arpeggiate with unique sonic dynamism. The sax solo pours out encouragement and conviction while rebounding percussion drives on. Above it all, Chenelle Roberts’ voice climbs with lush power and intensity before the song closes.

“When thinking about our wilder days, we were dancing every night away,” the narrator reflects, admitting she has something she needs to say. She explains, “I don’t know which way to go, I want you to know I can’t live without your love.”

She continues, “All of this is very new, but I think that we’re far overdue,” concluding that expressing her love for the other person is all that she can do.

Quickly dancing notes beam to open “It’s Over.” Varied percussion is joined by a synth exuding shining clarity while the bass growls. Chenelle Roberts’ voice is deeply emotive, gripping me with intensely felt loss and love. The bursting beat is joined by radiance flashing past.

She uses her wide range and luscious timbre to capture every ounce of emotional depth. The synth gleams affectionately as the vocals levitate with reminiscence and pain, slowly reaching realization. Tiny sparks of light glint while the rhythm rebounds and a sharply illuminated synth trembles. As the lyrics unfold, affection and resignation intertwine while starlit keys and gigantic bass intermingle, the vocals soaring with heartfelt intensity before the song ends.

As the storyteller points out that she and the song’s subject have been moving “in a wayward direction over the last few years,” she adds that being comfortable isn’t an option “when we don’t hold each other near.” She isn’t sure if the other person can see what’s happening between them, or recognize the lack of trust they exhibit. She adds, “You don’t even notice that we both have changed our ways,” and they can’t remain locked in constant fighting as the other person accuses her of lying.

“I don’t know when it happened, it’s killing me inside,” the narrator confesses, knowing the song’s subject is unhappy and urging them to open their eyes. She points out that venturing down memory lane isn’t going to change anything now. She continues, “There is nothing that’s going to save us, regardless of what we avowed.” Now she finds herself accusing the other person of lying and concludes that it’s over, while saying, “I will never stop loving you, but it’s over.”

“Can I Get Your Number?” starts with banging orchestra hits and swings into action with an undeniable groove. Chenelle Roberts’ vocals are playful and full of flirtation as the orchestra hits slap back in. A wildly ringing, bell-like synth joins her exuberant, fun-loving performance, grabbing hold of me while the rhythmic pulse radiates funky joy. Bell-like notes dance with shimmying dynamism, matching the passion broadcast by the vocalist.

The low end locks firmly into the pocket as the vocals vault with irresistible feeling, while a synth adds a steel pan sound. Now KTheChosen enters with fun, free-flowing rhyme schemes as mellifluous bells levitate and the steel pan timbre vibrates. He captures the light-hearted spirit perfectly, his flows slick and confident. The beat continues to bounce with hip-swinging ease before an old-school ringtone closes the song.

“When we met it was different, baby and we never had the time,” but things have changed for the narrator and now she’s looking good. The moment feels right as she asks for the song subject’s number, adding, “You know you want this, baby.” She admits she’s being a little forward, but “We’re young, there’s no need to take it slow.” She wants to go somewhere together because “I’ll make you want to call my name,” promising, “We’ll be up all night until the daylight breaks.”

The second storyteller responds, “Baby, let me get your line! Oh, you decline? That’s fine.” He knows she gets asked out all the time because she’s “a cutie with a caboose, make the fellas get loose.” He imagines what they could do together as he asks her to call him, promising, “I will send you a message way quicker than a pigeon.”

He adds, “Before you read more, you gotta close the door, the next part isn’t suitable for children,” urging the other person to “come a little closer, continue conversation, get a little warmer, give you a demonstration.” Calling himself the love doctor and her his patient, he says, “Lay on the table, begin the operation.”

In conclusion, he declares, “Operator, can I get a connection to the lady over there lookin’ in my direction? Can’t help but stare, picking up good vibrations.”

Softly illuminating phrases move with a surging synth and thunderous drums to begin “My Way.” A guitar slices with clean edges as Chenelle Roberts’ vibrant, compelling vocals carry the mysteriously broken melody, while the driving low end growls with ferocious power. She captures the emotional depth of the song as the guitar slashes with fierce brightness and the rhythmic pulse surges onward. Her vocals rise with intensity as the synth cascades, haunting the entire track.

Gbohunmi’s rhymes are arresting as they move through the music. Lines such as “you left me in the depths, all alone down under, torn asunder” and the evocative “Time’s arrow moves ever slowly, so consistent, only flowing” stand out strongly. I’m also drawn to the verse: “those who are knowing live in anticipation, it can be the key to their emancipation from the fear, from the dread, from the demons living in their head.”

As the song unfolds, the hammering beat forcefully propels the resonant lyrics while the synth glows with dawn light. Raised notes descend like broken crystal as the shattering beat explodes and meditative sounds drift in the distance. The defiance expressed through the lead singer’s range and depth is vivid. The guitar howls again with blues-inflected feeling before climbing roughly, exuding unbridled energy and the song comes to an end on solo vocals.

Time moves rapidly and the storyteller hopes the song’s subject can feel it, adding that “these last fears, they will haunt you.” She tells the other person they’ll have to follow through, knowing she must go her own way. “Not gonna hide it, I’m not gonna fade away, I’m not gonna cry today, just gonna fight it.” She speaks of loneliness and asks if the other person can feel it too, vowing to hold on until they submit, haunted by fears they must face.

“Rise” comes into being with glimmering chimes and a solidly pulsing underpinning beat. Metallic sounds flash delicately as Chenelle Roberts ‘ voice squeezes every ounce of feeling from the lyrics, pouring out like liquid honey through the music. The swinging groove is slow and steady, while a celebratory synth rings with brilliance and the bass adds robust undergirding.

Chenelle Roberts takes my heart and warms it with her expressive, vibrant performance while the heavy underlayer throbs. Her vocals create engagement as the synth intertwines with an aching melody full of impassioned dynamism. The broken beat thunders and trips, moving alongside synths that tower and snarl. String-like sounds levitate as gossamer lines weave between the jagged edges of the percussion. The vocals rise again with echoing, touching feeling before the song closes on skipping drums and bass.

“This road is lonely and so cold,” and it holds nothing golden for the narrator. She is “unsure of where this path will go, who knows,” yet insists on continuing forward through trust in oneself. Superficialities cannot bring true happiness and she reminds the song’s subject that fulfillment will come “if you could see just where you’re supposed to be and all of the gifts that you possess.”

“You fear your wish will not come true, you’re paying the fines” that are overdue. The storyteller adds, “so then you stumble, feel like you can’t continue.” She reminds the listener that their vision is skewed by negativity, urging them to trust themselves and remember that material things will never bring true happiness.

Conclusion

“What It Was” is an effervescent mixture of exciting music, skillfully delivered lyrics and rhymes that spark and burn with intensity. Its movement from playfulness to darker themes creates a wide emotional range and it is never less than engaging and enjoyable.

Fraver - Deep Space 2175

Review by Karl Magi

Overall Album Impressions

Fraver’s “Deep Space 2175” is a thrilling journey through a universe of adventure and darkness. Fraver pulls out all the stops to draw images of a world and a character moving through it with a mission in mind. All of the synth sounds combine to generate atmosphere and propel the story, while the melodies are evocative and the overall sound palette deepens the feelings that fill the individual tracks, forging them into a complex end result.

All of the different synth textures and timbres serve the purpose of cinematic framing and direction on “Deep Space 2175.” Each track captures a different element of the story being told and conveys it to the listener with clarity. Fraver has chosen all of his different synths with care, using them to convey exactly what he intends. Each small vignette is captivating and full of emotion, coming together into a cinematic vision that carries the listener along on the journey the main character has embarked upon.

Melodically speaking, “Deep Space 2175” is also powerfully poignant. Each melody has been composed with thought and skill to carry the storytelling forward, transmitting shifting moods and images with sharpness and expressive vigour. I enjoy the intricate layering and melodic richness that, toward the tail end, fill me with a continued sense of new horizons opening. The way the tunes pierce cleanly and engage me keeps me moving forward.

I also want to add that it was lovely to have Stilz included on a track. I enjoy it when synth artists acknowledge seminal people in the genre and I enjoy it even more when they collaborate with said people!

My Favourite Tracks Analyzed

“Deep Space 2175” comes to life as darkly descending notes with jagged edges create shadowed anticipation. Burnished bells drift before a rising synth with razor-sharp sound climbs with dominant muscle, just before the thumping rhythm kicks in. The drums burst as the main melody combines drama and melancholy, painting imagery of a broken future world.

The rhythmic heartbeat moves with confidence, supporting the main melody as it mingles hurt and technological sharpness. The underpinnings are smooth as they guide the lead synth with its wistful, shadowed sound. I enjoy the way I’m transported to a futuristic city full of pain and beauty. Delicate chimes shine with diffuse luminosity while the underlayer undulates.

Gruff sounds soften as meditative bells echo tenderly, slightly broken and lost, above the threatening low end. There is an ominous weight beneath the delicacy that levitates before a cleanly radiating lead synth echoes again. The main melody contrasts with the driving percussion as it roams with uncertainty. The beat doubles, the main melody grows more triumphant and the low end snarls with deadly force before fragility rings out above the massive weight.

Trembling, delicate notes are cut by the sound of a jet flaring to kick off “Blind Seeker.” Slightly distorted notes vibrate as the jet sounds flash through again and glittering arpeggios undulate while the rhythmic undergirding throbs. Radiant chords flash as the solid drums add guidance and arpeggios sparkle like starlight.

Slowly gliding notes float past like planets on the horizon while the steady low end adds direction. The rhythm is rebounding and smooth and the melody creates mournful tranquility as the steady beat is joined by hollow percussion. Effulgent chords leap with sharp edges and gruff sonorities cut into the music.

A sense of traveling across vast voids, illuminated by cold stars, moves me as the haunted melody captures me with its hurting disconnection. As the underlayer throbs, actively levitating chords give off the distant glow of lost worlds and silence falls.

“Night Dreamers” opens as slowly levitating, piercing synth moves with deliberate melancholy. A deeper synth provides a counterpoint, full of resonant motion. The two intertwining lines are joined by heavily thumping bass, adding weight to the melody. A contemplative sensation fills the high end as the thudding rhythm presses on.

Starlit phrases shimmer above a slowly undulating mid-range as the drums drop away. Trembling notes drift like lost comets, while the percussion returns and angular arpeggios leap dramatically. The way this piece roams between thoughtfulness and dynamism creates an enjoyable sophistication. The synth solo drifts with haunting, darkly shaded feelings that contrast with the wriggling sounds below. Guided by a half-time beat, the main melody becomes elegiac and deeply expressive before silence falls.

Threatening bass rumbles with a sense of approaching danger to commence “Downtown.” Roaming notes drift through open space, full of bereft emotion as the bass continues to rumble. Gently moving sounds rush with ghostly undertones, conveying loneliness and brokenness. A sensation of moving through a desolate space fills the music, painting scenes of a city fallen into disrepair and anarchy.

Trickling tones float like ragged mist as the track evolves. Faraway figures shift and shivers, conveying feelings of loss as it trails like tatters of fog. The subtle music creates an empty atmosphere through distant, melancholy sounds that touch my ears. Randomly flowing textures add to the disconnection while the ominous low end continues to drift, a feeling of bleak solitude permeating the track as it unfolds.

“The Guardian” comes into being as breathy, tender and tranquil notes flow, while expanding sounds tremble through the music and the drums begin to coalesce into an accelerative rhythm. The bass undulates with rough-edged energy and the lead synth trumpets with triumphant uplift, while colossal, snarling underpinnings are driven forward by leaping drums.

The main melody climbs skyward with nobility as the lacerating low end slices beneath it. Worshipful choral sounds move through the track while the bass towers with ferocious motion. A sense of victory and encouragement radiates from the melody as it wraps around me, imparting a heroic feeling of forward progress.

The roughly slashing bottom layer drops away and the kick drum thuds as a glistening line flows like stars lighting the way. Once again, the fearsome low end growls with forceful domination before the main melody takes flight once more, full of majesty.

The worshipful choir returns with renewed elegance and strength as the low end batters insistently and the song slips away to its powerful conclusion.

Slowly heaving bass moves with heavy shadow as the drums subtly shift and string-like voices begin “Paradigm Shift.” Climbing chords shine with a gruff edge while the rhythm pulses smoothly. Ethereal pitches hover with graceful lightness, evoking hope and positivity in contrast to the darkness moving below. The bass surges as crystalline patterns float like sunlight through shadow, while gossamer notes trace through the music.

The synth glints like precious stones in soft light, while piercing high tones carry a wandering, sharply defined melody. The intermingled bass and drums are dense and powerful as the synth climbs sonorously, creating imagery of clouds clearing and progress being achieved. I enjoy the interplay of darkness and light as it unfolds before the track comes to an end.

“Green Eyes” opens with a smoothly oscillating bassline and frequencies that glitter like the breaking dawn. The low end flows with graceful relaxation as an elevated synth carries a fragile little melody that drifts past like a memory of beauty, touching my heart with the affection it contains. The rhythm is steady and soothing as it unfolds, while the main melody glides with loving tenderness, moving outward in extended lines that enfold me in mist-veiled brilliance.

The drums thud with even-handed ease while twisting higher notes wander through like tendrils of warm remembrance as the steady pulse moves forward. Swirling sounds slip past with meditative tranquility and the drums fade out as the bass continues to undulate. Peaceful sensations abound before the track slides into quiet.

A powerfully growling sound moves with pounding drums to create a massively surging rhythm as “New Tomorrow” kicks off. The lead synth rises with noble light, projecting a sense of aspiration and a future expanding with boundless possibility. A steady rhythm underpins the music with solidity, while raised notes exude crystalline hope. The secondary melodic line is caressing and gentle, while the main melody climbs with fortitude.

The track drifts into a segment where slow waves tremble and lucent sounds shiver like glass chimes. Tremulous synth moves into emptiness as the track exhales airily. The drums return as ethereal sounds bind together and the snarling low end erupts while a climbing lead synth bursts with brilliance, conveying images of a spacecraft soaring into the velvet firmament. Rushing underpinnings flash forward as the majestically climbing synth floats past. I enjoy the way resilience and optimism mingle in the melody before the track closes.

Conclusion

“Deep Space 2175” is an intense auditory journey through cinematic landscapes and musical beauty. Fraver engages me through skillful combinations of synth sounds, melody and atmosphere, conveying the drama and sweeping scope of the unfolding story.

Synth Single Review: “BaseWars [Parts Shop Repair & Upgrade Remix]” by The Last Navigator

by Karl Magi

The Last Navigator’s “BaseWars [Parts Shop Repair & Upgrade Remix]” conjures images of a dark future world. The track opens as 8-bit notes burst alongside gruff bass. Tiny, computerized sounds flicker while the rhythm breaks into a smoothly flowing, loping pattern.

The drums add shape as the sharp-edged 8-bit melody roams with rocking strength, full of razor edges. A low-end pattern creates a hypnotic pulse while the 8-bit tones carry a melody steeped in dark tension. The music evokes a complex, gritty technological environment with an undeniable edge. The imagery of a deadly game about to occur fills the single.

Steadily bursting mid-range pulses leap forward as echoing chip sounds ring with a haunting sensation. The underpinnings swagger onward while a clean, crying synth flashes. Elevated notes dance, increasing tension as the track radiates lurking threat and futuristic menace, before the main melody rises with digital precision and energy, then drops into silence.

Synth Single Review: “Just Fine” by Fonz Tramontano & Calida J

by Karl Magi

Fonz Tramontano & Calida J’s “Just Fine” expresses melancholy, resilience and a strong sense of self-worth. The song begins as calming notes move like ripples across a smooth pond, while the rhythm rebounds with guiding strength. The main melody is filled with resolute tenderness as Calida J’s silvery, sweet voice moves with an aching touch.

The underlayer is opaline and Fonz Tramontano has written a melody full of hurt, touched with resilience and freedom, pulling me deeper into the song’s message. The lead synth glows with pastel radiance while the undulating bass rumbles and elevated notes glisten like hopeful points of light. The main melody sways with soothing sensations, mingling strength and affection as the low end throbs.

Calida J’s voice carries a hushed, caressing quality while sparkling tones hover like fireflies in the velvet darkness. The melody’s gentle, nostalgic emotion radiates as the vocals slide past with silky ease and the song comes to a quiet, reflective close.

The storyteller says she’s just fine while “all alone, just killing time, on my phone, just scroll on by.” She isn’t thinking of the song’s subject and she knows they aren’t thinking of her either. She realizes that’s just fine because “I’m all grown and I’m all right, be my own damn Valentine.” She decides she doesn’t need a plus one, because “solo is fine.”

“Everything fades away, walking these streets with ghosts of yesterday,” and she feels it wasn’t meant to be the way it is, as she’s “chasing rainbows that turn out clouds of gray.” She accepts this and adds that she’s still fine. She tells the other person to do their thing, and she’ll do hers.

“I’ll see you back home, sometime near 9:00,” which is just fine. She points out, “I’m making memories, I’m living life,” and with a whole world to see outside, “I’m not on hold, yeah, I’m seeing mine.”