Synth Single Review: “Canopy” by NÆ & Blizz

by Karl Magi

NÆ & Blizz’s “Canopy” jumps with groovy energy and an active foundational pulse as funky trumpets burst and NÆ & Blizz bring together their exuberant vocals to create positivity and joyful connection, trading off as brass adds showy dynamism and the chorus has a distinctive ‘60s pop quality. 

The gnarly bassline and wildly wriggling synth adds to the feeling of vintage cool as the two singers duet with vibrant liveliness. With a slower pulse, the percussion creates a hypnotic sensation while the singers capture all of the connection and excitement inherent in the lyrics. Blizz’s soaring trumpet rises with soulful power and explodes into the grooving bassline before the song closes out.

Inviting the second narrator to "meet me in the canopy, up so high" and share her dreams, the first narrator asks him to "stay with me in the canopy because you're so good to me." Both narrators talk about how, “if we fall apart, we’ll land together, leaning up against one another." Underlying shadows grow and the city rises above them, as they are forever.

Both storytellers think the “glow that flows below and up through the trees" is more than just a memory and the physical connection when they touch is hot like a "friction cone clutch.” The treetops are a "city in the sky, refuge for our lives" as they amplify everything. To conclude, both storytellers say that they “need a change to bring us back together, forever and forever."

Synth Single Review: “Best Of Me” by O.a.G

by Karl Magi

O.a.G’s “Best Of Me” expands outward with vibrant chords and a house rhythm that adds an undeniably groovy support to the low end before the piano lifts everything with a veil of luminescence. A melodic line wanders on an astral synth, bringing to mind powerful affection, while Wesley Reid’s heartfelt performance carries out with touching passion. Iwan Bedford imbues the music with warmth and positive energy through his production.

The underpinnings add a steady beat while vocals float with fervent feeling as the piano chords and active percussion create exuberant motion. Distant notes create moonlit luminosity while Wesley Reid reaches out with conviction and soulful need. Above the dance floor groove, burning attraction and deep fulfillment mingle in the melody, levitating on clean tones as the vocals carry every nuance of attachment. The chord changes create increased light before the song ends. 

 Wondering how it could be that the song's subject is "everything, the reason I rise every day," our narrator asks if they can hear him calling or see him falling now. He points out that "everywhere I go, one thing I know is that you are the best part of me." Through all the highs and lows, he wants to let the other person know that "you're the best part of me."

Asking if, "in the afterglow, can we let it flow? " He reiterates that the song’s subject is the best of him, adding that,  “you’re all I need, the one who drives me so crazy. " He wonders if the other person can feel the love growing around them. He concludes by saying, "everywhere I go, one thing I know is that you’re the best part of me. "

Synth Single Review: “Couldn't It Be Me?” by Color Theory

by Karl Magi

Color Theory’s “Couldn't It Be Me?” exudes shivering fragility from the softly brushing background and Color Theory’s voice hangs on the edge of emotional delicacy as it transmits a deep attraction  around a melody which slowly bubbles up and trickles in round tones. 

The sweeping background distance contrasts with the warmth and engagement of the vocals while a piano emphasizes anticipatory wanting. Color Theory pulls me into feelings that mingle hope with anxiety. 

As the distinctive vocals create muffled tenderness, circular arpeggios glide with soothing peace and a velvety piano. A computerized melodic pattern weaves affection while chimes evoke tiny flickers of excitement and the song comes to an end on an active underpinning throb.

Both the song’s subject and the narrator can't deny what's going on or "pretend the brush of your hand was a slip." The other person used to tell him everything but "now the rush of saying too much makes us sick." He asks if there's ever a chance of falling when they're leaning on his arm with each step.

"Sometimes when you stare, hanging in the air," our storyteller finds himself awaiting a sign while their heartbeats come together and break the spell as he asks, “Couldn't it be me? " A shiver runs down his back and he wonders if he and the song's subject will "test our resolve." He points out that friendships evolve and choices get made as he once again asks, "Couldn't it be me?"

Speaking of the "chalk outlines of relationships," the narrator suggests that they've "swallowed our pride for too long” but as he starts to make a confession (more or less) the other person has already changed to the subject. He concludes: "Would a casual kiss be such a risk? I think I already know the answer. "

Synth Single Review: “City of Once” by W O L F C L U B

by Karl Magi

W O L F C L U B’s “City of Once” begins with a languid melodic pattern that glimmers like skyscrapers on the horizon and a synth creates muffled delicacy before the exhaling vocals caress like soft hands on warm skin. The lead singer finds the essence of the lyrics, in touch with their affection and emptiness, bringing together brokenness and desire. 

In the distance, a drift of notes floats before massive percussion presses on. Sunburnt passion fills the vocals as they reach me with their earnest yearning. Phil Smith’s guitar has a slightly gruff tone carries melodic entanglements that tremble with ferocious feeling. 

The lead singer’s voice has a vulnerable quality that permeates the music with tragic love above a heavy reverberation. The chorus climbs with a nostalgic haze that extends above the foundational pulse before the song comes to a close on Phil Smith’s guitar as it reflects bereft passion in its interwoven sound.

As she drowns herself in the song's subject's past, our storyteller is "trapped in a figure of eight" as she trips over the words she wants to say  "forever, that there's no escape." She feels clumsy with the other person and her soul as she fails to “call myself brave." Ink from the photograph’s frame covers her hands and "the monochrome spills from the page."

Feeling "grazed by the summer," the narrator doesn't think she can recover and she's being kicked out anyways. She says there's "no time to remember, just time to surrender." She'll "meet you in the city of once," and embrace the song's subject there for eternity but that won't be enough. she adds "I'll starve or suffocate in your love” if that's what she’s feeling.

"Stand by the glass just to watch you sway, I'm vacant in all the right ways "as our storyteller tears at her heart so that the song's subject could stay, "an ultrasound mapping your veins."