Synth Single Review: “Megawave” by LukHash

by Karl Magi

LukHash’s “Megawave” celebrates child-like energy and classic console sounds. The track begins as a funky 8-bit groove shimmies through the music. The low end has Sega Genesis grittiness while the synth skips past with jazzy, playful energy that radiates throughout the track. The drums bounce and bop with joyful insouciance while the groove locks in with the percussion, wriggling with a hip-shaking funk.

The main melody is full of childlike wonder and celebratory energy while the sharp edges beneath add propulsion. Hollow tones are joined by gruff notes before a synth jumps through the music with a pure sense of earnest enjoyment, taking hold of me.

8-bit notes shine and the main melody flickers through the music with a sense of irrepressible happiness. The low end dances with easygoing relaxation while the higher synth gains power before wobbling into quiet. The melodic lick fades away, and the track ends.

Synth Single Review: “Neon Nights” by Fury Road

by Karl Magi

Fury Road’s “Neon Nights” is an invitation to an intoxicating retro-future world. The song opens as fiercely iridescent notes tumble over each other above a solid bass flow. Cascading tones create dramatic tension while the background drifts along before a razor sharp synth leaps out with bursting liveliness. All of the tightly wound notes release their tension before the main melody vaults, erupting with tremendous inspiration.

Rob Fox’s voice is propulsive and reverberant, full of thrilling potential, while the synth glints like hot pink neon. The chorus flies out with triumphant optimism while the main melody rockets forward with unbridled wildness. Drums propel the song with irresistible energy while Rob Fox’s compelling, effusive performance grips me.

The underlayer leaps as the chorus accelerates and the track slides into a segment in which Rob Fox’s passionate vocal performance trembles with feeling. The marching beat thunders while the vocals soar. A synth solo explodes with untamed intricacy, blazing brilliantly before a climbing synth ramps up the mad energy. Rob Fox cries out, and the driving low end punches the track to a conclusion.

“In the city of endless lights, we dance beneath the stars,” as our storyteller and the song’s subject feel the nocturnal rhythm, they are two lonely hearts. Our storyteller welcomes the other person to “Neon Nights, where the broken parts shine brighter,” while they dance in ultraviolet light, believing they cannot get any higher. He adds, “We look so alive in Neon Nights.”

As “memories of our first kiss resonate in the air,” they ache to “taste the past once more as we move across the floor.” Each heartbeat of the narrator and the song’s subject reverberates loudly like a “symphony in disguise.” He concludes by saying that “we’ll chase the dawn together where truth and fantasy collide.”

Synth Single Review: “Astral Projections” by Droid Bishop

by Karl Magi

Droid Bishop’s “Astral Projections” creates a sense of freedom and excitement. The track commences as trickling sounds flash past and the foundation drives with compelling dynamism. The main melody shines out on a bell-like synth that rings with elevating, adventurous strength while the undulating bass cuts cleanly.

The drums hit with precise force while high notes hover with a cosmic sheen, transmitting a melody that is free-flowing and feels like drifting in flight. The rhythm is full of smooth power, propelling high notes which radiate intergalactic shimmer.

The exhilaration and encouragement of the melody seize me as it speeds out above the flooding beat and the arpeggios ripple rapidly to add shape. The main melody rushes with undimmed positivity as twisting sounds move along with punchy drums, speeding forward with unbridled brilliance.

The echoing melody floats while bells add gleaming light before the lead synth carries the melody out above the charging underlayer. The bass fades away as every bell flows in an encouraging melody and the drums return in full force along with the bass. The lead synth broadcasts indomitable, planetary strength while the beat bursts and closes out as the song ends.

Synth Single Review: “The World Is You” by The Blue Book Project & Nicolas Rixon

by Karl Magi

The Blue Book Project & Nicolas Rixon’s “The World Is You” conveys powerful desire and consuming passion. The song opens as active, varied percussion moves with a sweep and a tangled, ringing synth is joined by a brass section that erupts with jazzy liveliness above the catchy drum beat. The melody is groovy as a steadily pulsing sound in the distance vibrates with zingy dynamism.

Nicolas Rixon’s voice is like caramel, warm and flowing, capturing ardent emotion while the underpinnings drive forward. Harpsichord-like notes tremble along with his sensual performance, capturing all of the desire and fervour spilling out of the words.

The rhythm continues to jam forward as the steady pulse vibrates. The brass section burns with intensity while the vocals spill out with desire and zeal. The horn line is catchy as it blares with positive strength and Nicolas Rixon captures me with his performance while metallic notes glimmer with soft brightness and the rhythm pulses.

The chorus floats out with fiery joy while vibrating tones create urgency above the locked-in rhythm section. Nicolas Rixon’s vocals are full of honey-sweet warmth and trumpeting tones erupt with sunlight before the song ends with joy and need mingling.

Walking down the city streets, our storyteller sees people as shadows. He shuts his eyes and takes a look around, glancing into his heart. He says, “I can’t tell what’s going over me since I saw you last night dancing. Now I know my life came to the point that the world is you.”

On the city streets, “the racing cars seem so still.” As he shuts his eyes and empties his mind, he says he will take her home in his heart. He asks if his feelings are getting through to the song’s subject and if she can hear his message. He adds, “I can feel and breathe it in the air that the world is you.”

In Barcelona, he imagines himself having a fight at the bullring and singing in New York City for the song’s subject. In Paris, he says that he loves the Moulin Rouge, while in London Big Ben marks the passing of time. He continues, “The world is you and you are my world, girl.”

When the song’s subject is crying, she calls on him and, even if “the timing is not so right,” he promises that he will not turn his back on her, though the moment is hard.

To conclude, he says, “People dancing on the other side of a rainbow-coloured disco. I’m alone with you and to my eyes the world is you.”