#80smusic #funky #soul #recordcollection Crate diggers is a series entirely dedicated to 80's soul funk lovers in which the Boogie80 crew as well as selected guests (DJs and vinyl collectors) will be reviewing records from their personal collection in various genres including Soul, Funk, Boogie, Disco, Jazz Funk/Fusion & Modern Funk. In this 33rd episode, Mah'Mood is sharing a selection of 5 Jazz Funk records from his personal vinyl collection. Records presented: 01. Barbara Pennington – “On A Crowded Street” (1986) 02. Yvette Cason- "Ca$h Play” (1983) 03. Jayne Kennedy - "Steam Room" (1983) 04. Bobbi Humphrey - "Baby Don't You Now" (1982) 05. Eddie Craig - "Funk Time" (2004) ► Follow us: ► Facebook: https://www.facebook.com/boogie80com ► Instagram: https://www.instagram.com/albin_boogie80 ► Soundcloud: https://soundcloud.com/boogie80-com ► Bandcamp: https://avantgarderecords.bandcamp.com
We’ve all had to adapt lately. We’ve had to live more isolated, stay-at-home lives. I know this has meant a higher video game consumption for most of us. It has for me too. Because of my own preferences (read: obsessions), this has meant playing a lot of DOOM and DOOM II mods.
One of the downsides to this has been a total ignorance of anything new or cool; only recently was I talked into trying Among Us, and even then I only did it on mobile because it was free. The upside is that Doom can be a million different games with the right source port and add-ons.
The game you want it to be is Shrine.
Shrine and its sequel, Shrine II, are what Doom modders call “total conversions” or TCs. This means that the mod does more than change the game… it entirely presents Doom (or, more usually, Doom II) as a new game in itself. The first installment showed up in November of last year, so it isn’t what I’d call hot news, but I never feel like these things get the attention they deserve. The second installment, Shrine II, was released in June of this year. Both are “total conversions” following the same theme.
There isn’t much story given, but it is known that you play as a “skinless monstrosity” named Tusk, and you are fighting “the Eldritch Horde.” You won’t be able to make sense of much at first, but that’s the point. These games have a solid “weird factor.” You’ll marvel at the strangeness of your enemies, your weapons, and pretty much everything else. The great part is that if you’ve played the original Doom games, you’ve got the core skill set necessary. Just make sure you’re good. Shrine ain’t fuckin’ around with nobody. It’s a respectable challenge, and clearly Scumhead (the developer) knows FPS design.
You’ll face off against a menagerie of monsters, some of whom are very dangerous. Many of these enemies will prove to be less resilient than they seem, but be wary; almost every monster in this game can dish out a great deal of punishment to a player lacking in reflexes or awareness. Stay sharp. The weapons you find and use to murder the horde are often biological in nature, including a tooth-firing pistol and a chainsaw analog made from something’s spine. You may notice superficial leftovers from the Doom series, but that’s all they are. All of this shit is new and challenging.
The atmosphere is probably the best part, despite gameplay being absolutely stellar. The art has a much more “hand drawn” feel to it than Doom or Doom II, but it’s hand drawn really, really well. Careful palette use and effective lighting choices make the entire game an exercise in tension. Both games have an excellent soundtrack, the first one (I don’t know about the second) being by Filmmaker, one of the best and most talented indie music creators out there. The sound effects are gross or eerie, depending on what they represent, but they are also very good.
Shrine II is a continuation of the loose plot, with Tusk finding himself imprisoned before unseen aid releases him from his cell by arming him with a bone saw. This sequel keeps the same theme while rotating in a new set of weapons and enemies to keep things fresh. It’s every bit as challenging and weird as the previous installment, to the point where I consider these to be one game. In fact, that’s the only improvement I could possibly suggest.
As a pair, I rate Shrine and Shrine II 9 out of 10. I am very impressed with Doom mods that not only don’t suck, but totally re-envision the game without compromising anything. That has certainly been achieved here.
The absolute legend Com Truise has announced a new album, “In Decay, Too,” is coming December 4th, 2020!
Few things can get us more excited than the announcement of a new Com Truise album – but this specific album seems to be a special treat for fans!
The original “In Decay” album was a selection of early unreleased work. “In Decay, Too” seeks to replicate that by shining new light on a host of newer unreleased work from Com Truise as well. Com Truise actually worked with Polychora (Formerly Comrade,) the internet’s foremost Com truise archivist. Polychora has been following Com Truise since the early days, and helped the team find and unlock some true gems for “In Decay, Too.”
We only hear one track from the pre-order: “False Ascendancy,” which, of course, is brilliant. For a deeper preview we’ve copy-pasted the following text from the Ghostly release page below. Grab your preorder here (Bandcamp) or here (Ghostly)
“Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer’s legion of fans.
To accomplish such a feat, the Com camp tapped the Internet’s foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley’s musical output since his earliest Komputer Cast (Haley’s podcast mix series) days.
Polychora’s vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley’s singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation.
Following the smeared introductory tones of “Zeta,” the album locks into its first robotic groove on “Compress—Fuse,” a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs.
Further down is the suspiciously bright “False Ascendancy,” which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into “Constant Fracture.” The track pushes to the point of stress, reaching the album’s apex with a punishing series of blows before fading to relief, where the beatless and contemplative “Trajectory” awaits.
In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what’s still yet to come.”
The post NEW Com Tuise Album Preorder Announced – In Decay, Too appeared first on NewRetroWave - Stay Retro! | Live The 80's Dream!.
It’s hard to believe the debut album “Visionaries” from the electro synthpop sensation Parallels is turning 10 years old. Time truly does fly. In honor of this occasion Parallels has released the “Visionaries (10th Anniversary Edition)” via our very own NewRetroWave Records! This update to their new retro sound is a fantastic remaster – “Visionaries,” has never sounded so damn good!
To top it off, this edition also contains several remixes from the likes of Betamaxx, Anoraak, Maethelvin, Morgan Willis, Glitbiter, and more! At the time of this writing, there is a scant 21 copies left – grab one now before they’re gone!
Parallels is comprised of vocalist Holly Dodson, drummer Cameron Findlay (formerly of Crystal Castles), and Joey Kehoe smashing it up on the synths. “Visionaries” dives into a pensive, disco-influenced electro synthpop sound that was an early influence on the synthwave genre, having been released way back in 2010. Since then they’ve released an EP and album that slapped the charts, and even collaborated with Futurecop!
The Parallels sound has always been intriguing, mixing melancholic and introspective vocals with glistening synth melodies and some truly groovy, driving drums. This sound has truly never sounded so great as with this “(10th Anniversary Edition) remaster of Visionaries.” Many times you can barely even tell the difference on a remaster – but here it is an absolutely inspired update with crystal-clear vox, boosted basslines and a deliciously new highlighted grooves.
The plethora of new remixes from a large swath of heavy-hitting retrosynth artists also gives this release a huge boost. “Visionaries” always felt close to retro synthwave, but still succinctly fell more into the electropop category. With the addition of these truly fantastic remixes, we finally hear the Parallels sound shine with a delicious retro synthwave influence. The two varied sounds meld so perfectly together, it’s easy to imagine what Parallels could have been if they had really focused in on that retro sound.
Overall, “Visionaries (10th Anniversary Edition)” is a wildly fantastic album who’s mix of influences reminds us of the early days of synthwave in the very best of ways. It’s an amazing package of nostalgia – even for the times have have just recently passed. You don’t want to miss this one, and I’ve even grabbed a copy myself. My only wish for this album is that it gets a release on cassette!
Grab a listen to this fantastic remaster and it’s decadent remixes here!
If you’re feeling nostalgic, there are some actual first-edition copies left of “Visionaries” too here!
The post Parallels – Visionaries (10th Anniversary Edition) appeared first on NewRetroWave - Stay Retro! | Live The 80's Dream!.
With elements of EBM, darksynth, and cyberpunk mashed together in the most atrocious ways, “Dark Future” is a pretty stellar first release. The tracks osccilate between heavy goth and darksynth influences with immense distortion and bleak synthwave solos that swell into haunting melodies. This defangled cyborg certainly shows a lot of potential.
Check out these awesome teenage bedroom setups from the 80s! Teenage bedrooms are always a fantastic peek into someone’s personality, and these retro teens are just a couple shining examples. Check out these awesome teenage bedroom setups from the 80s! If you liked this image set – be sure to check out the rest of our “Retro GOLD” series!
Before we dig into the post – special thanks to Monica Cheville (aka Palisded) for the photos!
The Horse Girl / Depeche Mode Fan
Horse girl, or Depeche Mode fan – why not both? This teen seems to be in a transition from pink to black, and we absolutely love it. The clothes pile on the bed also encapsulates a lot my personal teenage years – a certain experience I’m sure we’ve all shared!
The OG Synthesizer Nerd
This kid was sporting some serious gear for the time. Maybe not a teen at all? Who knows – it’s lost to time. I wonder if they still have any original tracks floating about? That gear would probably be worth a pretty penny nowadays too! (What kind of synthesizers are those, anyway? Let us know in the comments!)
The Cure, Car, and Pinup Girl Guy
Ah, how we miss those woodgrain panel walls. This retro attic bedroom is chock-full of so many teen boy stereotypes it’s hard to focus in on one to comment on. The CRT monitors? The VHS tapes? The (likely stolen) traffic cone? I love it.
The Duran Duran Shrine
Some is a little obsessed with Duran Duran! That’s okay, they’re awesome! I wonder if they still listen to them….
The 80s Art Geek
Was your bedroom covered in art? Mine sure was. Some thing never change over time – it’s hard to pick out all the different references here, but the chair style and tube tv really give away this was most definitely an 80s bedroom.
Is That a Cat in That Box?
For our last image, we have yet another Duran Duran fan (thought a little more sensible this time) – and a beautiful little kitty in a shoebox. We would love to see what was out of frame for this one – I bet the rest of that bedroom is rad!
If you liked this image set – be sure to check out the rest of our “Retro GOLD” series!
Through directly addressing the topics of depravity fueled and safeguarded by online anonymity, Makeup and Vanity Set’s music video for ‘Algorithm’ is a gorgeous piece of work that is bound to shake up and disturb viewers. Directed by Justin Hopkins and Saman Kesh (who previously worked with MAVS on the Hit TV short), ‘Algorithm’ ventures beyond the boundaries of indulgent nostalgia and escapism and dares what few artists in the scene dare to explore. From political conspiracy theories to racism, misogyny and beyond, the directorial duo has channelled the pain, isolation and frustration of a Covid-stricken, socially torn America to deliver their boldest work to date. We got in touch with Saman and Justin over a Zoom phonecall to learn more about their latest work.
Earlier this month you released the video for Makeup and Vanity Set’s ‘Algorithm’. Can you give us a bit of a backstory behind the video’s story and themes?
Saman: Matt (MAVS) basically sent us the album around July 2019 and asked us to pick our favorite track to make a video. There were so many false starts and We had so many ideas for this such as live-action concepts with real people, but we couldn’t get it to work for the budget. Then came COVID around March and things stopped. We were like “What do we do now?”. At the time Justin and I were annoyed by the fact that evil Amazon was profiting off of the pandemic, so we thought of doing this spot with an evil chatbot from Amazon. We were really pissed at the time and we were getting very upset about the whole Black Lives Matter stuff. We felt pain for the marginalized and underrepresented, with both of us being POC and having dealt with racism ourselves. We just went further down the spiral with the Dark Web and things like that. It kind of escalated from there.
Justin: This is the second music video that Saman and I have directed together. The first one was the Meg & Dia video, which kind of explored a similar world. We naturally gravitated together towards this strange, amorphous fear of AI and its capabilities. We workshopped four or five different concepts and then we landed on this idea that we could do a whole video with just text. I was honestly a little unsure that we could pull it off but Saman was so gung-ho about it that I was down to try it out. It felt like an insane challenge where we could unload all of this stuff that has been causing us a tremendous amount of frustration, angst and sadness. We explored the whole QAnon phenomenon, the trolling on 4chan and 8kun, stuff that I had been researching anyway, simply because I wanted to understand what was going on. The video was a good way to explore and vent about all of this racism, misogyny and all these people who wander through our lives anonymously from the dark corners of the web.
I feel like you both have very distinct and somewhat diametrically opposing styles. The work I’ve seen from Justin seems to be more contemplative/organic, picturesque, whereas Saman veers more towards a more-action-based digital world. Do you agree with this? How would you qualify the creative process between the two of you?
Justin: I agree with that 100%. I think there’s something special about that dynamic. Saman and I aren’t just collaborators; we’re very close friends and we share a lot of personal time together outside of work. I respect his talent and abilities and I hold him at such high regard that there are certain things that I would be uncomfortable pursuing if it were just me doing it. Together, we have this combined force thing that gives us the freedom to play in each other’s world a little bit. It felt really natural while we were doing it. I’m always surprised at the results because obviously it’s a mix of our two brains and sensibilities, which makes things inherently different.
Saman: I agree with that. To me, Justin is very much an artist, an experimenter and explorer. He loves all forms of art and disciplines. He’s able to use his craft in so many different ways. I think that I’m very much a campfire storyteller. As I’ve gotten older, I’ve realized that the storytelling is the most important part of my DNA. It’s nice to work with Justin because when you have another brain, you can try and stay objective with the story. Unlike with our previous video, we kind of played whatever role we needed to. A lot of that came from trust, I believe. It’s very hard for people to give up what they usually do. So there were times where Justin was taking the lead on the story whilst I was focusing on the technical aspect. I think Justin brought a lot to the table regarding the topic and the issues and he educated me on certain elements. It was a learning experience. I like that our projects are always about trying something new. They’re stories that we know we want to tell through experiments. That’s a very Justin thing. I’m experimental, but Justin just is an experimenter, so I feel a lot more confident with him because he does his homework. I just want to make shit up. I don’t like doing the homework.
Justin: That’s a funny way to look at it. I feel the exact same way that you feel about me. I thought that you were incredibly experimental. It was invigorating and fun. You also have this insane knowledge about the UI stuff. It is mindboggling. I guess we just leaned into each other’s traits and interests.
Saman: Yes! And the UI was unique for both of us because we’re so far away from motion graphics. I guess, if anything, I go into it a little bit more because I’ve done it a few times and I’ve used text in music videos before. I like doing unconventional music videos, but this was something new for both of us. We had to figure out how to make text interesting in a music video, which is a medium that is supposed to be very visual. It was a paradox of sorts, but we liked the challenge.
What have you learned from working during Covid?
Saman: It’s interesting because we technically finished the video in July. The label thought it should come out a little later and wanted to do some homework on how to implement the strategy of promoting it. During that time, Justin and I were doing other “pandemic jobs”. I shot two commercials remotely while I was sitting in my bedroom on a computer. I think this job had the same kind of feeling where I just miss people. I miss human interaction, and I think a lot of it bled into the work. I think the reason that there’s something really scary and sinister and sad about the video is that it feels lonely because that’s how we felt. It felt isolated. Even though Justin and I don’t like people like Jeff, the main character, we felt like him in the sense that we’re alone making this thing in a dark room. I think that the learning experience for me was that I know that I like people, as much as I say that I don’t, because I feel sad because I’m not able to interact with other humans. The other thing that came up is communicating ideas. You have to be very specific from note to note, which honed that skill down. You don’t have access to people as often and the way you normally would, so you have to turn on your brain to creative mode all the time. Justin and I would have to get on a call at all hours, dead tired, to get these assets handled on time. So there’s a lot of time management, creative management and expectations. We had to go with the flow, too, because we weren’t the ones doing the effects. It sounds like it’s all compromise but they’re actually reality checks and good lessons.
Justin: I feel like I learned a lot from this video because we’re living in a time that feels like planning seems obsolete or strange to do. I’ve done four music videos during the quarantine, and every time I’d start one I feel like it might not get finished, they might pull the plug on it. There are so many things happening that every time I released a video, some horrible tragedy happened. When we released this one, Ruth Bader Ginsburg died that same day. When I released another one during the pandemic, George Floyd had died that same day. There’s always these things where you’re wondering whether things are going to fly, whether it’s going to get cancelled or whether it’s even going to be received in the right way when it comes out. There’s this big void of what to expect. While we were doing this, I was always on the verge of wondering if they were going to can the project at any time. I don’t know if I even told you that, Saman.
Saman: No, you never did. That’s interesting! [Laughs] I love how you didn’t want to bring it up so as not to jinx it.
Justin: I didn’t want to “Incept” your mind with any doubt, because I love the project. But I was filled with uncertainty the whole time. It was a test of patience the whole time.
Saman: There’s such uncertainty in things dying so fast and so often that you really have to be zen about these things. I have meetings with big celebrities about a project that later dies within two days. I get depressed about it, then two days later this other project moves and goes forward. With this video, I had this carefree attitude throughout. I think the label loved it originally, but they were being respectful and concerned whether Matt was going to like it. After Matt came back to us and told us that he loved it, they were constantly there to make sure the video had the best “life” after its release. That’s been hard too. We’ve had a lot of publications that were very frightened by it, some people offended by it. As a society, because people don’t like feeling uncomfortable, they choose to not watch something. I think that a lot of people are just uncomfortable and we realized that it’s a shit-starter video. We know that we’re going to be provoking people, and we know the people who like being provoked will like it and spread it. We’ve been shadowbanned several times when we’d post it. It would get banned, taken down or flagged. It’s been a hell of a process releasing this video. It’s ironic because the song is called ‘Algorithm’ and yet the algorithm of the web is blocking our video and preventing us from spreading the word. I definitely learned that, sadly, as a society, we don’t want to face the hard truths. And it bums me out.
I assumed that you somewhat expected this reaction though, given that the video touches upon this very subject. It’s somewhat … fitting.
Saman: Yeah! What’s very interesting is that women tend to like the video, which we were initially worried about. Women seem to like it more. We thought that men would like it as well, but they seem a lot more frightened by it. I think it’s a lot of men probably see a little bit of Jeff in them, and it’s super sad that, rather than engaging with it and acknowledging it, they run away from it. My favorite responses are from people who just give compliments about how good the video looks. I always know the subtext of those comments is that they’re uncomfortable and didn’t have the words to express what they feel. We weren’t surprised, you’re right. We kind of knew what was coming. We just didn’t realize how delusional people are, how they’d rather have junk food at a time like this. Justin and I are big proponents of self-healing. We love meditating and spirituality and I was disturbed by how blocked people are.
Justin: I guess that if I can amend my answer, I’d say that is the most important thing I’ve learned. Men and women are very different in the way they perceive these things. When we were coming up with this Jeff character and figuring all of his flaws and kinks, I was basing my input on two of my good friends, one of which is one of my best friends growing up. He has this fetishization of Asian culture and Asian women, and that always disturbed me as someone who is mixed race. My mom is Japanese and my dad is white, and I’ve had white people and Japanese people being racist towards me. That’s something that’s overlooked and I wanted to make sure we incorporate those perspectives into this video. People can just anonymously fetishize, dehumanize and emasculate on the Internet. Jeff was very much that guy who feels like he can do whatever he wants and get away with it. Men, because they saw themselves in Jeff, were really disturbed. Women almost immediately saw a predator in Jeff. They’ve seen this guy before. They’re viewing it from two very different lenses. That was the most interesting thing to me. One of my good friends is, in my mind, a model for Vanessa Yi, this second-generation Asian person. She said that she longs for the day for an AI bot to take down these racist, misogynist trolls because she’s been terrorized by them. She knows Jeff and she can’t stand it. She’s a symbol for that. The guys see AI as a symbol of a force digging up stuff that they don’t want people to see. They are very much more protective of their perceived privacy. They want to keep what they do in the shadows. And that was disturbing. Instinctively, men were scared of the AI and women were scared of Jeff. That’s very telling and very sad.
Social media and online means of communication seem to be quite a hot topic of debate as of late, namely with the release of Netflix’s The Social Dilemma.
Saman: We were just watching it as the video was coming out. The parallels were kind of interesting.
The documentary draws a link between social media business models and algorithms and the spread of racist ideologies and conspiracy theories, namely QAnon. How would you like our relationship to social media and tech to evolve?
Saman: Personal accountability is huge. One thing I feel is that the tech community is so invisible to lawmakers, politicians and people who’re in power. It’s hard to ask for accountability when the people at the top of the tech world don’t fully understand what they’re doing. It’s almost like empathetic autism, the inability to react to the damage that’s being caused. The word “regulation” sounds like censorship, but what I think of when I hear that word is just being accountable. I think it’s hard, because “empathy” and “accountability” don’t mean anything to data. It’s a little bit of a nihilistic view that I have right now, because I’m upset at it all and I’m still absorbing things, but I think that what’s going to happen is an implosion. I don’t think that we are going to be able to sustain this. I believe that madness will come. The thing that’s supposed to be connecting us is the thing disconnecting us the most as humans. I don’t know if there’s a way to stop it. I just think that people are going to have to rebel and stop using things or tax the shit out of tech people to take away power.
Justin: I agree with all of that. In a weird way, this is what it feels like to have already lost the battle. What happens when you open a portal to what feels like infinite amounts of human knowledge? There’s darkness and light that comes with that. I think I’m a more educated and more empathetic person because of the internet. I’ve learned so much about things I would have no access to. But there is also that dehumanization factor because you’re looking at something through this apparatus plugged into all of this other stuff. At a certain point, because of that disconnect between something tangible like reading a book or talking to a person face-to-face and the online world, there’s an obfuscation of the truth, where people don’t even trust what’s coming out of them. They’re algorithmically fed information because that algorithm wants to keep a status quo. Then people start reinforcing these bad ideas that they stumble into, being incentivized to distance themselves from each other. They start not trusting people who are authorities in their field, and that translates to terrible, dangerous ideas that people can make money off of. That’s a real problem. People are making money off of this division. The wrong people are being incentivized to do the wrong things, and the right people don’t even know what’s true anymore. I can’t see us as a society coming back from that.
The video also deals with our relationship between humans and tech, in this instance AI. Do you find yourself buying into the humanization of tech?
Saman: What I want and what I think will happen are probably two different things. What I want is usage of technology as a tool and to be able to rely on it in some ways and to be able to control it in other ways. People don’t care about the truth as long as they get what they want, or rather what they think they want. I think that technology will not rule us but will be used as a way to manipulate people. As people get lonelier and stop talking to each other, I think that technology will become people’s friends to talk to. We don’t care if it’s real, because as long as it feels real to us, who gives a shit? And that’s how fake news works. When you turn on Fox News, they’re not news anchors anymore. They’re basically reverends for corruption. It’s the same thing. Where this video is a bit of a wish fulfilment for Justin and I is that we explore whether AI will see humans as sacks of waste and try to take us out, or rather take out the people that are hurting us. The idea of an AI vigilante is wish fulfilment is something I hope happens. Maybe AI will save us from ourselves. Who knows? We will accidentally create this technology that knows how to put us out of our misery and stop the disease.
Justin: In my current state, I see tech as useful tools. AI is in this weird early stage where it still can’t quite understand the features of the human face. It doesn’t quite get it yet, but I do think that AI technology as a whole has an actual evolution very much like organic lifeforms. It just happens to be that this evolution very much integrated with humanity. It’s in its best interest to continuously integrate with us and eventually become indistinguishable from us as lifeforms. I think we’ll just keep on moving towards that place where, at some point, people will stop wondering whether it’s a good or bad thing. It’ll just be a thing. It will be integrated with us in such a way that it’s indistinguishable. Right now it feels like a tool, at some point it will feel like a lifeform, and after that it will even feel like a superior lifeform. It won’t have the hang-ups of the body that kills them. I know it sounds very Sci-Fi, but I do feel that’s what it looks like. And I’m neither upset nor fearful or happy about it. It’s just a thing that’s happening and people will adjust and adapt to it as they adapt to any new circumstance.
Closing off, name one of your favorite albums, movies and books.
Justin: Journey in Satchidananda by Alice Coltrane is one of my favorite albums of all time. Maybe my favorite book is Wise Blood by Flannery O’Connor. Film-wise, I’ll go with Alien.
Saman: My favorite album is Daft Punk’s Homework. My favorite movie is Terminator II. I’m not much of a reader, but I’ll go with the Steve Jobs bio [by Walter Isaacson].
What’s next for the two of you?
Saman : Our collaborations now are nothing to announce as of yet. I’m working on a few films that I’m either writing or developing and getting cast. I’ve got a science-fiction film. The movie I’m the most excited about is a Kung-Fu Romantic Comedy called Kung-Fu Love.
Justin: I’ve got a short film in the works and I’m also illustrating a book with my wife right now. It’ll come out next year.
Thank you to Saman, Justin and their team for making this interview possible.
The post Into the ‘Algorithm’ with Saman Kesh & Justin Hopkins appeared first on NewRetroWave - Stay Retro! | Live The 80's Dream!.
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Dig 2 Graves is a gritty and well paced novella written by Andrew Davie and published through Close to the Bone publishing.
The story of Dig 2 Graves takes place during two timelines – One being Southeast Asia during 1973 and follows Lan a young Laotian boy that has to make ends meet and navigate the hostile environment around him by any means necessary; more often than not, involving violence.
The other timeline takes place in 1988 and follows the hard-nosed, take-no-nonsense, bail-bondsman named Luke as he follows leads and tracks down clients.
Both timelines are distinguished from each other and could be the core of their own individual stories however, as you read Dig2Graves you’ll discover that there is a point where the two will intersect with each other.
Andrew Davie has weaved a yarn that takes no prisoners and wastes no time with fatty excess. The pacing strings you along with the right amount of suspense, staying just ahead of the readers expectations. Dig 2 Graves isn’t your average story. This is a total page turner. The way it’s put together, jumping back n forth from decade to decade keeps things fresh and interesting. Like channel surfing in someone else’s dreams; within the theater of the mind, strapped into your seat watching the tension and drama build up before the inevitable release of violence that grips you from final paragraph to final word and leaving you feeling satiated with the aftermath of all things that lead to the climax.
A bloody good time indeed.
Dig 2 Graves is available online in both print and kindle formats
About the author: Andrew Davie is originally from New York City. His crime novella Pavement is available from All Due Respect Books. The sequel, Ouroboros, is scheduled to be released by All Due Respect Books in December 2020. He has worked as a recruiter for software programmers, an office manager at a theater company, and an institutional sales/options trader in finance. He has taught English and writing in New York, Virginia, Macau (on a Fulbright Grant), and Hong Kong. In 2018, he survived a ruptured brain aneurysm and subarachnoid hemorrhage. Currently, he hosts the podcast A Fistful of Faceful, and you can usually find him on Twitter @adavieauthor
About the Publisher: Publishing the best stories since 2011, Close To The Bone is dedicated to helping authors achieve their dreams of publication. Quality paperback, quality kindle books and online fiction.
Stay Safe. Stay cool. Talk Hard and keep your finger on that REWIND button.
#80smusic #funky #recordcollection #discofunk ► Facebook: https://www.facebook.com/boogie80com ► Instagram: https://www.instagram.com/albin_boogie80 ► Soundcloud: https://soundcloud.com/boogie80-com ► Bandcamp: https://avantgarderecords.bandcamp.com
iT’s here. A new album from JK/47 and Animal Firepower.
Ghost Sequence is a new EP of songs that bring all the cyberpunk vibes you’d expect from the carnivorous duo of producers that have become more rabid in their creativity.
Here are four songs that seamlessly float into each other with an ethereal and ambient energy that vibrates within the dream of the listeners own introspections of loneliness, love and longing, somewhere lost among the neon lights of a mega-city or under the flickering sign of a neighborhood dive bar with the smells of cigarettes staining the humid summer night air weaving through video arcades and ramen shops on a psychotropic nostalgia trip. The EP plays like a late night drive in a Testarossa (Type F110) with Sonny and Tubbs.
This is good. This is very well mixed and progresses a catalogue that will only get better from both artists. This is after-hours music.
Stay safe. Stay Cool. Talk Hard and always, always – Keep your finger on that REWIND button.
Favorite Tracks: ALL of them.
GO LISTEN TO ‘GHOST SEQUENCE‘ @ https://jaykay47.bandcamp.com/album/ghost-sequence
JK/47 @ https://jaykay47.bandcamp.com/
Animal Firepower @ https://animalfirepower.bandcamp.com/
Dan Terminus is set to release his sixth studio album, the intense cyberpunk triumph, “Last Call For All Passengers” – out tomorrow via Blood Music! (Grab a pre-order here!)
We had the fantastic privilege of a deep-dive interview with Dan Terminus ahead of the release of “Last Call For All Passengers” – and now we have the job of reviewing it – time to sharpen our knives and dig into this bloody album we’ve talked so much about!
Right from the top with “Oubliette,” it’s pretty clear this release is going to be strikingly different previous Dan Terminus albums. A single plucking synth builds into a cacophony of high-powered kicks reminiscent of 90’s styled drum and bass or breakbeat. But Soon the synth returns, giving texture and a melodic melancholic reprieve from the intensity.
This is a general theme we’ll hear throughout “Last Call For All Passengers” – starting a raucous fire of beats and bass – then tempering it with intricately interwoven synth leads. In spite of sounding very experimental and distorted, the hooks are incredibly solid. With the strong 90’s references the album feels familiar even on its first playthrough – and at times listens more like a dance album than a traditional cinematic cyberpunk album or a darksynth headbanger – yet the cyberpunk atmosphere remains in all its gorgeous glory.
Interestingly, “Oubliette” is nearly synonymous with the word ‘dungeon,’ and has the same origin as the French word ‘oublier,’ meaning “to forget.”
Given this album was written after an intense period of burnout where Dan left his job, crashed his car, created and then destroyed an entire “primal” unreleased album, “Oubliette” – this sense of forgetting or perhaps climbing out of a dungeon – is the perfect metaphor for the change in direction we hear in “Last Call For All Passengers.”
But there’s more going on with this album than just breakbeats and expertly crafted discordant synth.
Tracks like “Disfigured” are reminiscent of old school industrial music. “Feral” is replete with Gesaffelstein-esque bass stabs. “Inherit” has a synth lead that just brushes up against witch house before layering in stabs in the form of 90’s record scratches – and “March” listens more like a straight up hardcore deathmetal track than anything else.
The whole package feels uniquely retro in a 90’s aspect, yet still futuristic and experimental. It’s the perfect soundtrack to high-tech lowlifes hacking into each others brains – or spraying caseless ammunition under a sky the color of a television – tuned to a dead channel. “Last Call For All Passengers” a masterpiece of what cyberpunk can be as a musical genre.
But the real genius here is that this album is so impossibly cohesive. Dan Terminus has brought together so many disparate and eclectic experimental sounds that it’s almost impossible to imagine them as a singular vision – yet still it is.
Easily one of the best albums I’ve heard all year, bravo!
The post Dan Terminus – Last Call For All Passengers Review appeared first on NewRetroWave - Stay Retro! | Live The 80's Dream!.
Lovecraft Country was a very nice surprise this year.
A very dark and imaginative series taking place during the Jim Crow era of America’s complicated history, lead by a very talented Black cast and the right mix of horror, gore, suspense, and character drama that is very fun and entertaining without hammering any agenda into your head. If you haven’t watched this series, I highly recommend you to watch it; especially members of the diaspora that are interested in developed original characters of color instead of the vapid pandering to people of color by Hollywierd looking to bait and switch audiences with black actors playing originally white characters. LOVECRAFT COUNTRY is amazing especially in its first four episodes.
That being said- I will recommend two TV series and two films that fall into the same pocket as Lovecraft Country. I was immediately reminded of these titles while watching the first four episodes and I know yous all will love them as well, if you can find them online or at any local business that sells dvds, blue-rays and the like.
ANGEL HEART (1987):
The neo-noir horror thriller directed by Alan Parker (The Wall) and based on the novel ‘FALLING ANGEL’ was released in theaters in 1987, starring Mickey Rourke and Robert DeNiro. And followed a private investigator hired by a mysterious client to look for a missing singer during post WWII America. Mixing classic themes of Satanism and Mysticism with elements of Voodoo (which is mostly benevolent) and filmed in NYC and New Orleans. My first recommendation for anyone looking for more of the same vibe similar to Lovecraft Country but more nihilistic with that Noir punctuation of “Everyone is fucked”.
Friday the 13th : the series (1987-1990)
The adventures of Micki & Ryan and Jack Marshak as they hunt for cursed items and safely store them in the safe/vault of their antique shop. The series although only related to the movie franchise by name only was a really fun series to watch on NYC channel 11 back in the late 80’s when primetime television was fun and ahead of its time. This was way before the X-Files aired on FOX and can be seen as a precursor to that show; the only major difference being Friday the 13th’s overall storyline was more coherent and not just a bunch of random events around a horror anthology.
Cast A Deadly Spell (1991):
A hard boiled detective story inspired by HP LOVECRACT’s Old Ones mythos and the Necronomicon starring Fred Ward, Julianne Moore, Clancy Brown and David Warner and produced by Gale Anne Hurd (Aliens, The Terminator). Originally aired on HBO in 1991 and was so likeable with its movie quality practical effects and story when it premiered(to a young 9yr old me). I still think of it fondly and will re-watch it whenever I feel the urge. A very good blend of all the elements with an EMMY award wining song featured in the film by Curt Sobel.
Cast a Deadly Spell starred Fred Ward as Harry Philip Lovecraft a hard-lined sleuth living in a fictitious Lost Angeles where the citizens not only are aware of Magick but use it in their mundane/ordinary lives… Everyone except Private Detective H.P.LOVECRAFT.
Playing somewhere on YOUTUBE, go find it.
Kolchek the Night Stalker (1974–1975):
You can’t mention Friday the 13th and X-files in the same article without mentioning the grandfather of both series, Kolchek.
The series followed wire service reporter Carl Kolchak (Darren McGavin) who investigates mysterious crimes with unlikely causes, particularly those involving the supernatural or science fiction, including fantastic creatures. The series was preceded by the two television movies, The Night Stalker (1972) and The Night Strangler (1973). Although the series lasted only a single season, it rapidly achieved cult status and has remained very popular in syndication.
Those are my recommendations folks. Now go and watch LOVECRAFT COUNTRY now playing on HBO and HBOmax.
Stay safe out there. COVID, the goons, the government and the aimless dregs are all out in the night where the wolves once fed. Before the bland and the blahzay blah had their say.
Stay safe out there. Stay cool. Keep your head up. Talk hard. and always keep your finger on that REWIND button.
***SamHaiNe’s new spoken word album – ‘Natural City’ is out and NOW PLAYING
@ https://samhaine.bandcamp.com/album/natural-city .
#hainesvilleshit #neonoir #crimefiction #vaporwave #lofibeats #flashfiction #graffiti #cyberpunk #experimental #audiodrama #JadePalaceGuard #triphop #punknoir
The post TV shows and Films to re-watch if you like HBO’s LOVECRAFT COUNTRY appeared first on NewRetroWave - Stay Retro! | Live The 80's Dream!.
We had the honor of interviewing cyberpunk darksynth legend, Dan Terminus, ahead of the release of his sixth studio album, “Last Call For All Passengers.” The album drops this Friday via Blood Music – preorders are available here!
Over the course of two hours, we discussed everything from his unique production style to an intense period of burnout – and even the destruction of an entire unreleased Dan Terminus album! We hope you enjoy this deep-dive into the mind of a true sovereign of synth.
Got a question yourself? Check out the upcoming Dan Terminus Reddit AMA October 1st in /r/Outrun at 12pm ET.
(This interview has been edited for clarity and length)
Thanks for taking the time to talk with us!
“It’s cool, man. And thank you for having me! Ask me anything. I won’t dodge any question.”
In 2015, you had an interview with Decibel magazine. You mentioned that you began making electronic music to pass the time – as an outlet for your creativity. Now, five years later, after touring with Perturbator and gaining more fans – is creating music still the outlet it used to be?
“It’s a difficult question – almost a loaded question! But, my answer is yes and no.
I must say I never thought that I would be touring with James (Perturbator). I never thought that one day I would play in Paris – in a big, big concert hall called Le Trianon – in front of fifteen hundred people! I never thought I would end up doing this.
So, I try to keep the same state of mind – which is to say I’m still the same loudmouth asshole, turning knobs, twisting buttons, punishing keys, and beating up synthesizers. Because I think that if I stay true to myself, then maybe the music will be fresh – or at least, it will still truly be me.”
In an old Reddit AMA when asked about producing music, you mentioned that you create a track in your head and work on it in your head – and you place it on a “mental shelf I built for myself, like a mini-library.” Then you patiently reproduce the track on your DAW. Can you tell me a bit more about your mind library? Is that still a method you use to produce?
“Absolutely it is. I started doing this when I was a child because I read a book in which the character said that since libraries were burning, Monks had to build their own mental libraries, and would have to memorize dozens of books. So if a library burns, at least there will still be somebody out there who’ll be able to rewrite the whole book.
In fact, it’s just a visualization of a shelf, like a metal or wooden shelf in my mind. When I have an idea, I put it there. It’s something that helps me remember a lot of things – and yet I still don’t remember everything I would like – especially you know, from childhood and everything.
Lets say, well, to be honest with you, to describe my mental shelves… it’s not a palace. It’s not gothic, it’s not dark… it’s not a cyberpunk Los Angeles city. It’s just a warehouse filled with shelves. I connect it to rooms or bedrooms from my childhood, like lets say the village I used to go to when I was a child in the south of France, or my grandparents cabin in the countryside. For some reason those elements are very precise in my mind.
There is no map. If I want to go there I’m there. I don’t have to walk five miles down memory lane if I need it – it’s just there.”
Your first album, “The Darkest Benthic Division,” is very atmospheric. You mentioned some of your influences were Noir Deco and the original Vangelis Blade Runner soundtrack. Then, as your albums progressed, they get much darker and heavier.
What inspired you to take your music from that atmospheric, dreamy sound into the darksynth territory?
“Two things, the first thing was gaining technical knowledge in terms of music production and getting to know my DAW better. The second thing was that I really wanted to push my music harder because I wanted to try new things – new sounds. I wanted to go dark and heavy because I’m also metal head.
It was difficult. I could have gone on writing “The Darkest Benthic Division” forever – writing the same album five times, really. But I didn’t want to make a fool out of myself and write the same album twice.
Sometimes when I strike a few chords on my keyboard I go back to those very simple, yet efficient atmospheric tracks. Something that I’ve also noticed, is that when I play such songs like ‘Abandoned Ship Graveyard’ or ‘Underwater Cities’ people go crazy.
It’s when I get the most attention. People look at me, and I look at boyfriends hugging their girlfriends – and it’s a fantastic experience. But in retrospect, it’s the most simple album I’ve made. So that’s the beauty of it. Maybe one day I will write another whole atmospheric album. I have no idea – I’m not against it. But now is not the time.”
The Production Style of Dan Terminus
Speaking of new music, I understand you used FL Studio to produce “The Wrath of Code” and other albums. Has that changed? Did you use any new hardware, VSTs or DAWs or for the new album, “Last Call For All Passengers?”
“I’m an in-the-box producer. I love working with VST’s, and even the cheap stuff. I don’t care. As long as it sounds good it’s okay with me. As long as I can distort the shit out of it then I’m fine!
The new album was created on FL studio 10. As far as hardware goes, I didn’t use any hardware for the album. I only use VSTs like Synth1, Korg M1, Korg Wavestation EX, FM8 – and a few plugins like Multiband Distortion – stuff like that. Nothing too fancy, I’m sorry.
Basically, my setup is just me, my 2012 computer, a midi keyboard, two Fostex monitors and the screen – and that’s it. I’m a pretty simply guy you know? I don’t feel like having multiple synthesizers or clicky, shiny gear will help me become a better musician or a better producer – it’s all in my head first anyway. It’s all about being yourself.”
“So, was your creation process the same for previous albums and “Last Call For All Passengers?”
“I still create in my head and then reproduced the tracks in my DAW. I would like to tell you something though – it’s not necessarily about gear, but knowledge.
I feel like when you buy equipment, you don’t necessarily learn new things. But, if you can create the bass sound in your head by snapping your fingers, you don’t need to spend three or four hours designing a sound.
I think everyone should keep on learning every day, to get a wider playground. I try to learn new things every day in terms of production by reading books or reading articles. Every time I discover new things. So, I wouldn’t say it’s necessarily a good idea to buy a synthesizer. It IS a very good idea to read books and articles and to make sure you’re learning new things – even if it’s just a small, little piece of knowledge. I certainly don’t want to sound arrogant either – there is still much for me to learn!
This also lets you make things sound bad, in a good way. You know what I mean? If you listen to “Last Call For All Passengers,” you will realize the mix is kind of like a roller coaster.
Many times I voluntarily left the EQ alone – because if I EQ’d them properly, then they would sound too clean – and it would not be interesting!
If I were to work with another person or other people, things would be different. But when you are a one man project, I have to surprise myself. I have to outdo myself. I have to challenge myself. Otherwise, it’s too boring. And I would not wake up. I would just go to the countryside, take care of my horses and say, “Fuck music, fuck all of you, I’m just going to stay here forever!”
Art From Luca Carey
That’s interesting – so you own horses? Is that why the cover of your album is this sort of nightmarish horse? Did Luca Carey do this album cover as well?
“Absolutely, in fact, it was kind of a challenge because I wanted Luca to use black and green only. And I mean, if you’ve seen look at Carey’s work before, you know he usually paints with a thousand colors. He asked me if he could use grey, and I said, “Okay, but no more!”
I asked him for a mix of a Mérens – which is a black French mountain horse, and a Trait Comtois, which is a draft horse. He threw me three ideas, and I picked the one I liked the most.
As a relief, I told him for the back cover – you do whatever you want to do, because forcing him to only use two or three colors was an ordeal for him. So, he painted a big Cthulhu, and he painted it his way, and it’s fantastic. And let me tell you, it’s going to be nightmarish, really.
Technically, the horses are not mine yet. It’s just a matter of, you know, papers – but I love them with all my heart.
But with Luca. I believe that this guy is clearly not human, or at least he must have some alien DNA in him because his vision. No, I mean, really, his vision is so singular that it’s hard to compare it to anybody else. I love what he does. I would like him to get more recognition because it’s just not fair that he’s such a genius does not get more recognition!”
I read in another interview when you were creating “Automated Refrains” you were listening to a lot of Bathory, Type 0-Negative, things like that. What were you listening to for inspiration when you were creating “Last Call For All Passengers?”
“My heavy rotation records was music from the 90s. Bomb the Bass, Nation 12, Fatboy Slim, The Prodigy. Because, I started hearing such music in my head. I said to myself, ‘Hey, Bomb the Bass was so fucking good!”
Burnout and Album Destruction
From the little bit I’ve heard, it sounds like it’s going to be more danceable than you previous work – is that a fair assumption?
“It depends on what you define as dance music! You will hear a lot of breakbeats and lots of bigbeats, just like, you know, the Chemical Brothers and everything.
I think it’s almost on purpose. when I started doing this I made it spontaneously because this album – “Last Call For All Passengers” was born from thrashing, dumping another album that I made as I burnt out. So. So, yeah.”
That’s interesting – you dumped a whole album? Surely it couldn’t have been THAT bad?
“I worked nine years for a big company. I had to resign, and at the time I was suffering from extreme burn out – I even fell asleep at the wheel and I crashed my car into a wall, as I was burning out. The doctors ended up ordering me to stay home and rest.”
What? That’s crazy!
“Yeah, but to be honest, the burnout is one of the best things that ever happened in my life because it helped me refocus. You know, it’s cool. I was burning out and I started writing songs and in fact, I wrote a whole album that was super fast paced and very primal. It was primitive… and also it sucked big time!
It was a shitty crappy album with distortion over everything and it sounded like crap. But I wrote it as I was burning out because… I don’t know, I was angry or something. Well, I’m still angry – but angry in a good way, if I dare say so!”
Is there any chance we’ll get to hear this terrible burn-out album? I know you say it’s bad, but it sounds fascinating.
“No! When you write an album and when you release it, it is a very serious matter. You don’t make an album for fun. You don’t release an album for the purpose of releasing an album. You release an album because you want to fulfill yourself as a producer or as a musician. It’s like getting a tattoo. I don’t want to look back 20 years later and think – “Oh fuck, I should never have done this!”
When it was time to go back to music again, I listened to this album it sounds definitely like shit, so I got to get rid of it. I dumped the whole album. Quite recently, in fact, as I was saving projects on my external disk drive, I found a copy of this destroyed album. So I really listened to it again. And let me tell you, it was so fucking bad, like really – it’s horse shit, really.
And then I wrote “Last Call For All Passengers,” which is all about being back to life again. Not in an artsy-fartsy phoenix rising from the ashes kind of thing. I think that’s fucking ridiculous. But, that is how the album was born.”
With a title like “Last Call For All Passengers” – and with the current state of the world, I thought the album might be about this looming science fiction dystopia or climate change?
“The true explanation is that I was watching a movie by Mel Brooks – Young Frankenstein. There’s a scene where Frankenstein is hopping on a train, and the ticket collector says, “Last call for all passengers!” I think. Maybe I misheard it, but I said, “That’s it!”
After I picked the album title, now we have COVID-19, the fires in California, two thirds of Australia have burned. The pentagon releases papers saying, “Hey, maybe UFO’s are a reality.” Then we dodged a bullet with war between the US and Iran – and so much more. So, now I look at the title, and it really fits the world we’re living in.
The world we live in today feels like the X-Files from 1995. It was supposed to be a television show, not reality! Really, if I saw the heavens splitting open and a fleet of motherships landed, I feel like that would be just a normal day in 2020. Great! Now we have Big Mac’s on Mars!”
Cyberpunk or Darksynth?
Life really does imitate art! Speaking of which – you mentioned before you don’t really care about being labelled as a “darksynth’ producer – but do you think the genre is moving away from it’s synthwave roots?
I don’t really listen to much darksynth – I only hear what people send me from time to time, for guidance or feedback. There is one guy I listen to because I think he’s brilliant – SurgeryHead. He’s one of the very few guys I saw live that really, really scared me – and I admired him at the same time. His music is perfect, and his on-stage persona is, well, let me tell you it’s fucking scary!”
As far as synthwave – I would like to see it keep on evolving instead of becoming a sterile representation of the music. Any form of music needs to evolve.
I definitely agree with with that! But, it’s odd to hear you don’t listen to much darksynth, I think many fans might consider you a darksynth producer? What do you consider yourself?
“There are three layers, OK? The first layer is that I am an electronic music producer. The second layer is that I am a cyberpunk music producer. The third layer is, as long as it sound good to me, I will make that kind of electronic music.
I don’t mind if people label me darksynth, and if people label Dan Terminus as synthwave too, I don’t mind. I wont get fussy about what it is. As long as it sounds good and as long as people enjoy what they are listening to, it’s fine with me really. I do understand that from some people’s perspectives, some of my tracks may be considered darksynth, and a label is always necessary I guess.
Like, when I say, I listen to death metal, I mean old-school deathmetal. Bands like Carcass, Obituary, Pestilence, Deicide. Some people who say, “I listen to deathmetal too” and they bring up artists like Meshuggah or those totally insufferable bands who play on a 12 strings guitars that sound like a horde of guys banging on telephone cables with hammers.
People have different definitions of what deathmetal is – what any genre is. So, no – I don’t consider myself a darksynth musician. But, if people label me as such, I really don’t mind.
So you consider yourself a cyberpunk musician?
Absolutely. Absolutely. I had never heard cyberpunk music – the closest I got was when I read Neuromancer by William Gibson, and there is a colony in space where guys from Jamaica listen to “Zion Dub” which he described as bass-heavy music.
So, it’s very selfish of me, but I wanted to write music that to me, would be a kind of cyberpunk music. It’s selfish to want to define a new genre – but it was just me thinking, “Okay, what can the soundtrack to a cyberpunk setting?”
I was totally flattered when I first heard people actually calling my music cyberpunk! It was a huge compliment; I was humbled and honored.
Well, we’ve been talking for quite some time now – thank you deep-dive interview! What’s next for Dan Terminus?
“I’m not sure yet, more music for sure – we’ll just have to wait and see.”
With his new album release right around the corner, Makeup and Vanity Set just dropped a new music video for his latest single “Algorithm”.
Centred on a conversation between a human and chatbot, the video makes a dark, daring descent into the depths of human apathy in the Internet Age and is sure to wipe off any glimmer of leftover optimism you may have had after watching Netflix’s The Social Dilemma documentary.
MAVS’ latest album Endless Destiny drops this Friday via Data Airlines and is available for pre-order.
#80smusic #funky #soul #recordcollection Crate diggers is a series entirely dedicated to 80's soul funk lovers in which the Boogie80 crew as well as selected guests (DJs and vinyl collectors) will be reviewing records from their personal collection in various genres including Soul, Funk, Boogie, Disco, Jazz Funk/Fusion & Modern Funk. In this 32nd episode, Albin is sharing a selection of 5 Jazz Funk records from his personal vinyl collection. Records presented: 01. Pure Energy – “Too Hot” (1982) 02. Viva Voz -"Fugitivos De Azul” (1984) 03. Point 3FM - "Picks Me Up (Your Love)" (1987) 04. Sho Nuff - "Hold On For Love" (1984) ► Follow us: ► Facebook: https://www.facebook.com/boogie80com ► Instagram: https://www.instagram.com/albin_boogie80 ► Soundcloud: https://soundcloud.com/boogie80-com ► Bandcamp: https://avantgarderecords.bandcamp.com
I have been a longtime fan of the Bill & Ted movies. Light-hearted time traveling films about two teenage stoners, destined to unite humanity, trying to finish a High School assignment and later escaping HELL. Both films are time capsules of their time. Both films featured stellar soundtracks of the popular metal bands of the day. Both films are deadass funny. So when it was first circulating that a third film was in pre-production and being shopped around to studios – I was ecstatic. I was all in and full speed forward. I waited online for any news about the title. I was hyped when I saw Keanu talking about it in interviews and hooked on his excitement and enthusiasm for the project. All the creators were involved and returning except for George Carlin due to his passing.
From production start all the way to the first trailer, I was a Go. 2020 was looking so exciting.
Then 2020 happened and the whole year went to shit. Theaters closed, restaurants closed, everything shut down and people were out of work. Squares were left alone with nothing but their precious internet and their boredom and/or kids. Regular people lost their minds and went stir-crazy; crazier then ever.
Everything looked bleak, the world was on a flaming roller coaster ride speeding toward the gap in the loop.
But…. we had streaming services, thank you internet. We had netflix and we had hulu and all the gaggles of services fighting for you money. Finally, like the light at the end of the tunnel BILL & TED was going to have a theatrical release (yeeesh) and a home on-demand release. Rejoice! Something positive.
I waited patiently to experience what others that have seen the film before me said was, “Finally some hope in 2020 in the form of a light-hearted nostalgia trip of fun.”
I was vacationing in Los Angeles when my friend offered to play the film on a large 4k televsion. I was like, “fUCK yEah”.
Rewind : Now prior to this one of my oldest friends warned me about the film. That it wasn’t what I think it is. Of course this friend of mine is a severe critic and overly analytical of everything; he could criticize can orgasm if he felt it easily attained. He doesn’t understand what it is to just let yourself go and enjoy FUN.
The movie started and I was reintroduced to my old friends the Wyld Stallions.
And twenty minutes into the film something in my stomach started to flutter. My taste was fading for the Oreo cookies i was eating. No it wasn’t Covid. The movie just sucked.
Now it is in now way -shape-or-form as bad as BIRDS of Prey. That movie is complete dogshit.
Let’s take it from the top. I will not site any anti-feminist agenda here; I’m not a herb. I will only state what little I liked and what I didn’t like.
What I liked:
The wedding scene was the perfect trojan horse for an uncomfortable experience.
The future BILL & TED i liked, I liked that recurring situation and looked forward to seeing it play out with future and present versions of the Wyld Stallions dueling through time using some of the time travel tricks they learned from the previous films; NOPE never blossomed.
I did like seeing William Sadler return as Death; unfortunately the scene where they find him in hell is probably one of the most frustrating parts of the movie. I found myself tapping my foot on the ground with an impatient “Wrap it up” intention.
I did enjoy the main two actors. I was nice to see them running around in those characters again. I could see that they had fun filming this and I appreciate their passion to get this made. But, that’s all I liked bout this film.
The bad: EVerything. The moment in the garage is the starting point when I realized this film is taking itself way too seriously. The editing is okay. The cinematography is bad, the whole movie is filmed like an episode of SCRUBs; it looks like a made for TV movie and this whole thing might’ve worked or be better justified as just a one-shot NBC movie, I’m serious.
The visual effects when they rarely happen are fine…. except for the visuals of the future – what happened? The originals might be good examples of making the best out of limitation. However, this was just shiny filters of “bleh” on a contemporary self-Hi-fiving selfie.
The daughters are fine but really serve no purpose but to run around time on a side quest to distract you from the lack of main story there is here. Both actresses have been good in previous work but here are under utilized and tw0-dimensional.
Every one is back however, no one bothered to cast any of the actresses from the prior two films that played the princesses.
Rufus’ daughter was ….. the future characters were….. Things just happen in this film.
KID CUDI must be not doing much for budget fees cuz, he was the most uninteresting character in the movie. My friend even asked me, “Who is he?” and she’s worked in the music industry. Cudi is here to replace STATION. Why? I don’t know. I guess they ran out of money for a creature to be in the film.
And there is that goddamn robot of nothingness and bland impotent humor that is sent back in time to kill our heroes and then progresses into the most force-fed non-hitting punchline of the whole movie. “What am I watching?!!!!” is all I could say to myself.
The film does this n that and leaves you with more questions than Joe Biden playing despacito. Things just happen. Nothing really matters. They don’t write the song that unites humanity and saves reality
(yes, reality *retcon) instead it is their daughters that unite the random group of musicians from history and some how with some AKAI equipment orchestrate on the fly the composition that is the song. Bill&Ted don’t write the song, their daughters do. All BILL&TED do is run around through time with an infinity code and get every one in time to play along (How? I have no fucking idea. My disbelief was murdered after I saw Dave Grohl’s goofy face), BILL&TED’s only contribution is playing guitar riffs. And the song blows. In fact, that and the wedding song are the only two times you will have music. There is no soundtrack. I repeat there is no soundtrack. Remember the songs from the BILL&TED 2 soundtrack, well not here. Maybe it was a money issue, I know how shady labels are, and if that was the case I forgive them. But, you had Dave Grohl do a cameo and you couldn’t just ask real life musicians to get together in a think tank and write an actual song for the movie.
The movie ends and I couldn’t wait to fall asleep. I couldn’t wait to return to dystopia. I couldn’t wait to jump off a balcony.
My final feeling is this – FACE THE MUSIC blows a big fat load all over your nostalgia and would’ve been better executed with Alex Winters directing and the previous creators only serving as producers. The film should’ve been a made for TV movie and they could’ve gone through some script revisions and rewrites before the cameras started rolling. I still l0ve the first two movies. I LOVE THE FIRST TWO BILL AND TED FILMS but, I can live and die without FACE the Music.
- STAY SAFE, TALK HARD and always keep your finger on that REWIND button.
Bill & Ted Face the Music is a 2020 American science fiction comedy film directed by Dean Parisot and written by Chris Matheson and Ed Solomon. It is the third film in the Bill & Ted series, and the sequel to Bill & Ted’s Bogus Journey (1991). Alex Winter, Keanu Reeves, and William Sadler reprise their roles as Bill, Ted, and the Grim Reaper, respectively, while Kristen Schaal, Samara Weaving, Brigette Lundy-Paine, Anthony Carrigan, Erinn Hayes, Jayma Mays, Holland Taylor, Kid Cudi, and Jillian Bell join the cast. In the film
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DEADLIFE’s latest momentous release “City of Eternal Rain” is easily one of this humble editor’s top albums of the past five years. It debuted at #12 on Billboard’s Electronic Sales charts, and many fans around the globe are just now starting to receive their awesome cyberpunk splatter vinyls. In honor of this occasion we at NRW decided to take a deep dive into Deadlife’s releases – and give a hint at what’s coming around the corner!
The Early Years
“I mainly always listened to electronic music and soundtracks. Even when I was in bands, I only really listened to instrumental OSTs, so it was always something I wanted to do. When I left the band I was in it was pretty natural to go into producing that kind of stuff. It’s what I loved most. “ – Ed Hawx
Bionic Chrysalis – 2017
Premiering in 2017, “Bionic Chrysalis” was not an instant mega-hit. Some hardcore darksynth fans took notice – but it wasn’t until later that year that MetalSucks posted their glowing review and placed it in their top 15 albums of the year that it gained wider notoriety. Now, “Bionic Chrysalis” considered by many as a cult classic of the darksynth genre.
“Bionic Chrysalis” certainly had all the trappings of a major darksynth album – an intense, upbeat, and dramatically raw dark synth score – but it also broke the darksynth stereotypes in many ways. With bits of cyberpunk, chiptune, minor elements of French House, and an array of hauntingly beautiful melodies, this album was more house than the Perturbator / Carpenter Brut / Dan Terminus / GOST headbang.
The Order of Chaos – 2018
A fierce follow-up to “Bionic Chrysalis,” “The Order of Chaos” continued to progress DEADLIFE’s unique and intensely melodic darksynth sound. This album felt even harder than his debut, even touching on some minor elements of dubstep. We also hear some more traditional elements of darksynth, such as high-pitched shrieking “Psycho” synth stabs
However, amongst the harder darksynth are hints of a lighter, almost ambient touch – such as “Anxious Souls” and “Digital Rain (feat. Mecha Maiko).” A hint of what was to come next. (PS – There are still Vinyls available here!)
“I felt I’d kind of explored the darker intense stuff and wanted to do something totally different for a couple of records. It kept me fresh and learning new stuff. Also, I was in a very specific kind of head space where I wasn’t sure where I was gonna go with my sound. As it turns out I went on to do Singularity, which I don’t think I’d have done if I hadn’t done Variations and Orphan. I wanted to expand my sound and those albums helped me do that” – Ed Hawx
Variations on the Resolve – 2018
In a stark contrast with his first two albums, “Variations on the Resolve” is a largely atmospheric, ambient-based album. Most fans were taken by surprise – some were even quite upset by this change in direction. However, as any good artist knows, creating music is about more than just pleasing your fans.
But, In addition to those that were upset, even more were intrigued. The lush soundscapes contained in “Variations on the Resolve” are beautiful and haunting in their own way. The mixture of dark synth music and ambient tones were unlike anything we had really heard at the time.
Orphan – 2019
Continuing the trend of experimenting with atmosphere, “Orphan” was a mix between almost beat-oriented music and ambient sounds, reminiscent of Shlohmo’s early albums. I personally thought it was an “Exercise in Brilliance,” and one of the best albums I had heard that year. Yet still, fans were worried DEADLIFE’s darksynth days were behind him – so much so he took to social media to explain that was not the case.
In my review, I related as much: “So, for those of you that fancy their synth hard and fast, don’t worry – the old DEADLIFE isn’t dead – just beautifully mutating in his chrysalis. In the meantime, don’t miss this evolution.”
And evolve he did. I
A New Awakening
“I wrote Rebel Nights off the cuff because it was a really hot summer and it just kind of came out. I did one song originally and my friend was like “You should do an album like that for lolz” and I was like “ok!” So that was in the bank for a while, then I did Singularity the following year (I wrote Rebel Nights in summer 2018), and showed both to NRW. They said let’s release both and I was like sure why not!”
“I guess I’m always learning stuff and finding my sound and refining it. Cyberpunk has always been something I love from the beginning, I’ve been into the subculture of it for years for both it’s aesthetic and socio-economic sides. I’ve always viewed my stuff as rooted in cyberpunk, but it is what it is. After all it’s kinda hard to know what cyberpunk music would be, it has varied throughout the years. But as an artist I am definitely leaning more toward the cyberpunk gothic side, with a lot of inspiration from the subculture, novels, films and also fantasy cyberpunk like certain Final Fantasy games. It kinda all just coalesces into the melting pot, and comes out as an amalgamation of all these things tied together.” – Ed Hawx
Singularity / Rebel Nights – 2019
This double-release saw the beginning of DEADLIFE’s new awakening. “Rebel Nights” was an interesting release, mixing chillsynth elements with minor key melodies to create a metallic yet relaxing effect. It’s probably the first time we’ve ever heard DEADLIFE go full beach vibes. I really regret not grabbing a copy at the time myself though, because as the new chillsynth genre expands it’s clear this album was really quite ahead of it’s time.
“Singularity,” on the other hand, starts to hone-in on that sound it feels like DEADLIFE was looking for. Nostalgia mixes with darksynth to create a wholly heart-wrenching but intense experience that feels miles ahead of the darksynth DEADLIFE started out with. “The album really shines when the combination of darksynth and cyberpunk genres are held together with more major nostalgic tones. This where DEADLIFE really nails something special.”
City of Eternal Rain – 2019
There’s not too much more to say here. It’s the latest incarnation of DEADLIFE’s sound, bringing all of these disparate elements together to create something brilliant. It really is quite a cyberpunk masterpiece. Check out my full review here if you haven’t read it yet – and grab a listen here!
So what does the future hold in store for DEADLIFE a? I asked the man himself:
“I have a lot coming. One full album that is a follow on from City of Eternal Rain, and I’m working on another that is way more downtempo and cinematic – an album that could be a soundtrack for a film – but the film doesn’t exist. I guess the latter is just me experimenting and having fun. Also I’m looking to go live in 2021, which I’m really psyched for. I’ll prob give it a test run and then build from there. But I’ll always be writing for sure, I just love making music.” – Ed Hawx