Synth Single Review: “Broken” by Future Analog

by Karl Magi

Future Analog’s “Broken” has a subtle and melancholy beginning with barely trembling synth and a guitar that slips with hurting tenderness as Julie Hicklin’s emotively embracing performance transmits a painfully gentle melody above the strong rhythm. As the waves undulate, defiance creeps into Julie Hicklin’s vocals with deeper currents running beneath her devotion, adding an emotional complexity that I enjoy.

The vocals reach with pained yearning, while refracted light flickers and the underpinnings throb. A complicated mixture of desire, loss and worry animates Julie Hicklin’s performance while the background beat adds support and haunting voices echo. Future Analog’s guitar adds power and a harder edge to the breath-warmed vocals before drifting outward in a solo full of broken feelings and intense love as Julie Hicklin ends with doubt, restrained anger and undeniable caring.

Although the song's subject says that both of them are fine and have always been, our storyteller wonders why they're looking at somebody else. She goes on to say, "I don't wanna pretend, I don't need your words" because she can see the way the other person is moving although they accuse her of being paranoid.

However the narrator needs the truth because she has trust issues and nobody to blame so, "if you were me I bet you'd feel the same." The song's subject has been texting their ex and “I should play it cool but I don't want to" because she'll never get a good reason not to suspect that "your heart’s somewhere else."

Our storyteller says, "I'll sew up your head when you kiss me with your eyes open" as she admits that she’s lied because her heart's broken and adds, "you say that we're fine, why would we not be?" To conclude, she says, "oh, touch me like you used to while we're around your friends."

Synth Single Review: “Power Kill” by Starcourt

by Karl Magi

Starcourt’s “Power Kill” explodes with vicious strength and growing peril as the underpinnings surge with punching drums and a sound that writhes like something horrible emerging from the shadows, reaching with ripping talons. Melodic notes evoke absolute fear, every moment full of worried anticipation, waiting for the horror that is going to erupt forth.

An electric guitar roars with shredding strength, reaching a crescendo full of savage danger. A note pattern raises the tension, calling to mind the breathless terror that sends one running and screaming into the darkness. The guitar slices with crushing strength and a raging attack, filling me with delicious dread as it bends upward, rushing with implacable force.

The low end is joined by the guitar’s shattering sound which rends with serrated claws. Ominous portent swells out as the underpinnings charge and the guitar snarls again before the track ends.

Synth Single Review: “Gone Girl” by The Lightning Kids & Luke Million

by Karl Magi

The Lightning Kids & Luke Million’s “Gone Girl” jumps to life with a catchy, undulating beat and a synth slicing in angular motion before Emma Ballantine-Dykes' exuberant vocals burst with motion and escape while the background softly glows. Emma Ballantine-Dykes' compelling performance soars with exciting dynamism and thrilling release that reflect the song's character.

As the drums skip, leaping notes cut with irresistible strength while chimes add a contrasting delicacy and the electrifying vocals seize me. The train rushes once more and a guitar tears the music with wild intricacy, singing out with as much lively character as Emma Ballantine-Dykes.

The early ‘80s sonic atmosphere created by Luke Million’s production works well with the vocal performance and the overall mood. Snarling with galvanizing power, the guitar floats with the unique vocals, driving onward before the song ends.

The song's main character is "riding on the night line, speeding through the red lights" as she runs through the night, she's a gone girl. "Living in her head space, dancing in a dark place" the main character is on a one-way trip and taking the last train.

Warning the song's subject that they've lost control, the narrator says, "tonight she's gonna run away, hiding on the subway” and disappear as she escapes to a far off place. The narrator goes on to say, "oh you know you hurt her, now you're going to lose her, slipping through your hands" and adds that she's a gone girl who is "hearing every heartbeat, rushing through the dark streets, never coming back."

Synth Single Review: “The Car Ride Home” by The Highway Club

by Karl Magi

The Highway Club’s “The Car Ride Home” is animated by a theme that flies outward with galvanizing motion as the drums come in with vibrant energy and Ben Wilson’s voice generates pure feeling, transmitting the melody’s aching passion. As the strong underpinnings create flow, the vocals embody desire and deep love while a synth emits the glow of headlights on an open road. John Bell’s production brings home the emotional core of the music, full of richness.

All of the earnest, honest depth to Ben Wilson’s voice grabs me while the melody calls to mind adventure, the open road and an intense connection between two people. Echoing with fierce affection, the chorus trembles and the drums cascade with irrepressible liveliness. Ben Wilson’s guitar solo pierces with intricacy, capturing all of the song’s fervent feelings within, as the beat rebounds. All of the unalloyed emotion exploding from Ben Wilson permeates the music and carries the song to an end

"We were never meant to cross that line, different worlds and different lives” but, for the narrator, something about how the song’s subject said his name "made all the rules just fade away." He feels like he's falling as he never has before and "now there's no holding back, every little doubt is out of view" as it's just him and the other person now. He points out that they "don't need forever if we've got tonight like this."

If he's dreaming, our storyteller never wants to wake up. He adds "I never want this car ride home to end, just us and this open road” and he doesn't want to have to fall in love again. As they find themselves "driving through the dark with open eyes, chasing all the lights," each mile adds "distance to our past."

In conclusion, the narrator says "maybe we can leave the world outside behind, we can lose all sense of time, maybe we can make this moment never end."