Saturday, February 18, 2017

Synthetix.FM is On Hiatus for 2017

After five years of doing Synthetix.FM I'm taking this year off. I don't feel the drive to do the site anymore and want to go back to listening to music just for the sake of listening to it for a while instead of feeling the need to critique/promote/share/etc everything I listen to.

I'll be evaluating things throughout the year and always leave the possibility open for returning  sooner rather than later but for now Synthetix.FM is on hiatus til next year.

Bear in mind Synthetix Music on Facebook is still rockin, so please share your own music and musical discoveries in there.

The site will stay up but won't have any further updates until I deem it necessary to post something. Many thanks to all the contributors the site has had over the years and to all the site's readers and supporters.

Here's to staying 80s forever.

Keep on rockin.


Thursday, January 19, 2017

Lazerhawk Rides Dreams


By Rick Shithouse

Lazerhawk is a name synonymous with 80s inspired synth and is a genuine legend of what it means to be 'synthwave'. Every Lazerhawk record has brought something new to the table over the years and has often marked the beginning of trends many other producers follow, as well marking time permanently in his fans' memories.

Dreamrider is Lazerhawk's new record and its timing of being released at the beginning of 2017 couldn't be more relevant. This album feels like a reset point and a fresh breeze coming in through an opened door that's remained steadfastly closed for a long time. The re-emergence of the importance of melody and emotion, revitalising my personal love of 80s inspired synth music while exploring the magical subtleties of music in a soulful and mature album.



In many ways one feels equal familiarity as well as newness in the sounds presented on Dreamrider. Not familiar in a worn out, already done way but familiar in feeling Lazerhawk's intimate melodies and structures washing over you. The opening piece, 'Neon Dawn' makes for a scene setting build that gives the perfect amount of epic power and emotional chords to caress you into a nostalgic REM phase of subconscious delights.

The concept of the Dreamrider was one I was taken with the first time I had the pleasure of enjoying this album in the December of 2016, before all the tracks were named and sans artwork. My initial impression of the music for the first time described to me a sequence of events echoed by an individual sleeping and dreaming at the bottom of the ocean. Although this concept is purely my own imagination there is a deliberate tidal and flow and power felt throughout Dreamrider that finds me being instantly transported to slumber in the darkest ocean depths.

The gravitational pull of the structures in 'Cruise' ease into oceanic undulations of slowly forming brighter structures that revel in the sedate pace and bloom into a slow motion emotional explosion of rich aural rewards.

Taking another tact, that quite too me aback upon first listen is the heavily New Order influenced 'Feel The Rush Tonight' featuring Gunship. I've always thought Lazerhawk's limited excursions into vocally oriented tracks was something he should explore more and in this song he's made a brilliant masterpiece of dreamy 80s inspired pop that cuts ever so slightly with modern flavours.

The languid pace that Lazerhawk eases you into through the opening tracks is an all consuming and surrounding atmosphere that comforts and inspires incredibly satisfyingly. 'Somnus' edges its way slowly into your consciousness in this manner and continues the deliberate pacing. Melodies barely raise their voices but shine with a warm embracing glow before exploding in graceful shower of musical light trails against the murky bassline. The narrative of this track is deep and intense, it opens you up and stares inside with wonder as you give yourself completely to it's inescapable, transfixing magic.

Lazerhawk often feels like his deliberate control and manipulation of melodies is taking all his creative strength to maintain. The epic magnitude of something as simple as the introductory passage to title track feels anything but effortless and gives the synthscape a presence that is tactile and omnipotent. The power of dreams is something mankind can barely comprehend and Lazerhawk's exploration of this as a musical dimension in 'Dreamrider' is unfathomably inspiring.

By the time 'Hypnic' kicks in it feels like a power surge of immense energy even though the beats per minute increase is marginal. The power becomes crystallised in descending melodies that bring to mind the times when French House music had a modicum of emotional investment in the melodies as a staple. The futuristic combination of sounds is powered by more epic and uplifting progressions of blindingly bright colours that move in beautiful new ways.

Dreamrider plays out as one of the finest arranged albums, track wise, I've heard in years. Each track's position is validated to perfection and 'Cool Breeze' echoes slight refrains from 'Feel The Rush Tonight''s New Order inspiration and takes it in a different direction. The water thematic continues to entrance the listener with a new palette of musically nautical flavours rising and falling with the ebb and flow of the tides.

Lazerhawk winds back the inspirational clock to the beginning in the following piece, 'REM', as a little early influences of Jarre/Vangelis/ YMO filter their way into the synthscape. This track has a more playful and atmosphere about it; even with a bassline that hints at nightmarish possibilities. The huge build and payoff never gets too dark, though and instead hypnotizes in a way that's more of a comfort than a threat.

'Mirror Between Worlds' has an entirely off kilter and skewed demeanour that does enter into darker possibilities and a great inky blackness of the unknown. The bassline follows a logical subconscious path while the layered melodies weave in and out of layers of reality and unreality, defying explanation and purpose that then forms into a joyous and lucid final act.

Much like our own dreams, the feelings in all the tracks on Dreamrider have an individual presence but rarely draws the entire scene for you. Instead we get broad brushstrokes of musical emotions that suggest more than direct and allow for many interpretations of what their meanings may be. 'Dream Within A Dream' has a serene sense of duality that rises with clean and clear passages that are backed by a muted disturbing tone, haunting the background pieces and creating the air of something not being right, just like when you realise you are dreaming but lack the control in the dream to do anything about it and allow the forces at play to take you further into your inward journey.

'Oneiric' continues to explore the dreamstate and goes even deeper into itself. The refrains are unmistakably Lazerhawk but the gauzy haze of trance inducing melodies are softened and curved, devoid of harsh edges and consciously aware that the slightest bump could wake you. You fall into the music without fear of crashing and it rises to meet you upon every single chord and heart beat.

The album begins to take you back to your consciousness with 'Awakening'. The passages are clearer and slightly more defined as you regain control of your mind. The haziness breezes out slowly and colours grow more vibrant. You can feel the clarity of the sounds invigorate you, bringing you back, relinquishing control for one more day.

I find it ironic that for a hugely conceptual experience such as this that the album finishes on such an absolutely scintillating high. I'm far more accustomed to the last tracks of concept records being more interlude/credit roll like and less of a climax but Dreamrider's final act, 'Dreams In The Dusk' makes for an incredibly deep and rewarding final chapter.

As if your subconscious decided that the dream wasn't over and was going to pull you back into your dream as one final plot twist this track exudes power and control by way of some monstrously dramatic percussion. The melodies reach out like vaporous fingertips, grasping at your mind to take you back into your subconscious and you feel yourself giving into the temptation in a deeply spiritual descent into your own mind. You fall back into your dreams with a smile as the melodies trail off into another dimensional consciousness you can't explain or understand; but you feel it resonate deep within your soul.

Lazerhawk's Dreamrider is one amazing creative work. The themes and concept are perfectly explored and executed in a way I've never heard before. The absolutely tangible emotional investment in every second of every track makes your feel as much as you hear and it holds you for the album's duration. Dreamrider is available on Lazerhawk's Bandcamp page here and is available in the usual array of digitally downloadable formats and is absolutely a Synthetix Reference Experience you must partake in.













Saturday, December 17, 2016

Synthetix Sundays



Celebrate the festive season in style with the final episode of Synthetix Sundays for 2016!

This year end special finds Marko chatting with Crockett and a joint interview with Michael Weber and Mythical Vigilante.

Mako's got two massive exclusives to premier from Betamaxx and Crockett too!

Also, there won't be a year end Synthstravaganza on Synthetix.FM this year, instead this episode's Quality Time With Shithouse is a look back over 2016 and a looking forward to 2017.

Make sure you listen live for tonnes of giveaway download codes too to make sure you really get what you want these holidays!

Tune in to Synthetix Sundays LIVE on Radio Pure Gently here, at 10pm Perth, Australia time. Please click here to find out when this is in your part of the world. As always the fully downloadable show will be posted here on Monday.












Thursday, December 1, 2016

Echocopy's Zephyrus




By Jerry Herrera

Somewhere between vaporwave, space synth and retrowave lies the odd land of Zephyrus. It’s a tropical planet, lush and populated with chill people of every color on the spectrum, and whether we are in low orbit or swinging on a hammock, we exist in a place of beauty.



The music never gets above cruising speed and there are few, if any, really intense moments on the album. There’s really no story to be told, no narrative existing in the music, but that’s not why we are listening. We’re floating gently between tropical and deep house sensibilities but can never be bothered to get up and dance, because there’s a guitar always playing and it’s smooth and jazzy and it reverberates at just the perfect frequency to cause a warm buzz in one’s mind.

When we are not wrapped up in the silken sheets of tracks like Orbiting and Midnight Motel, we’re on a luxury spaceflight,looking out the window at the exact point where the atmosphere meets the darkness of space. The space synth elements on the album still remain warm and harmless. There are no derelict ships or alien horrors to worry about, only what time happy hour is when you’re going around the world in eighty minutes. Elon Musk needs to put this album on his playlist.

My favorite track has to be Through the Tunnel, arguably the most uptempo/outrunny track on the album. It’s got all we love about retrofuturism with a dash of cool, crisp aesthetic that all the kids are chasing these days. It’s the perfect nod to the past and the far future.

I will say that one tends to lose when one track ends and the next begins, because of the ubiquitousness of the reverbed instruments on each, but then again this is an effort that I felt as a whole more than multiple tracks addressing several themes. Every minute of Zephyrus is pleasing, but only scratches a small handful of aural itches one might have.

However, if you want to lie on an alien beach and sip strange booze while watching multiple suns set, you can’t do better than Echocopy right now.

Echocopy presents Zephyrus, available on Bandcamp through Music Box Records here and comes very, very highly recommended from Synthetix.FM.




Tuesday, November 29, 2016

Le Flex's Dancefloor Suite




By Andrew B. White

If there’s one artist you should to know about this year it has to be London’s Le Flex. Once-and-a-while an artist comes along with the combination of exceptional talent, strength of material, top-notch production and a likable personality to match, and Le Flex certainly fits the bill. When you hit play on the first track of “The Dancefloor Suite” (a short intro titled ‘When I Saw Your Face’) and Le Flex’s super smooth and soulful vocals kick in, you know you’re in for something special. Immediately the tones of classic George Michael can’t be ignored, with Mr. Le Flex capturing the ‘edge of Heaven’ so-to-speak.



This is the sound of smooth 80s soft-pop, particularly the kind that was predominant in the UK at the time. American influences and sounds were remodeled locally and found their way on to “Top Of The Pops” and the result was something your whole family could agree on. Your sister loved it. You mum loved it. Your dad liked it when he heard it down at the fish and chip shop. You secretly loved it too (although you told everyone you were “into New Order, not that poppy stuff”). But there is no doubt its Le Flex who’s getting the ladies here, not Bernard Sumner, so its hard to fight against an obvious winner.

The second track on the album ‘Sway’ pulls us out onto the dancefloor, not in a glow-stick waving Ibiza way but with a mid-tempo RnB pop groove that you could happily dance to at a wedding reception with your gran. We also get a little of that Nile Rogers guitar sound to drive things along, and yes you are certainly welcome to start-up a conga-line for this one.

‘Meet Me On the Dancefloor’ brings to mind early-80s UK act Imagination’s ‘Just An Illusion’ with its distinctive gliding synth bass. Tasteful synth tones and interesting percussion flourishes help to make a very classic-sounding track. The lyrics say “I can see you like it, There ain't no denying, You know I'll make you feel alright”, and that is very true – certainly Mr Le Flex makes us feel alright!

‘Alone Together’ continues with the Imagination-influenced bass line and injects a little ‘West Coast’ yacht rock into the mix, in terms of subject matter and synth sounds. This is an ode to all hairy-chested, open-necked shirt, gold medallion-wearing and mustached smooth guys out there. Add cocktails with paper umbrellas and that lovely lady (or man) of your dreams and you’re in. Chalk another one up for the Le Flex love boat.

‘Feels Like Ooh’ brings us over into house-influenced territory. Simple stabbing chords and the unmistakable sound of the M1 piano are layered over 909 drums. The vocal sample and treatments bring us into more contemporary company but overall this track sits in the later part of the 80s where house was starting to combine with pop music.

‘Lovewitchu’ and ‘Where I Wanna Be (Tonight)’ give way to slower-paced RnB funk, suggesting the desire for a late night rendezvous. Additionally ’Lovewitchu’ also makes another appearance on the album later on (subtitled ‘A Lover’s Request’). This time it is slowed right down, suggesting the feigned requests for love may have actually been successfully returned…

‘Until The Morning Comes’ is a slow-burning affair with a slight hint of Luther Vandross-meets-Hall & Oates in places. Plenty of that unmistakable DX7 piano over a solid Moog bass. In the chorus Le Flex sings “It’s all about you” and it certainly feels that way – he’s singing right to you and you know you won’t be able to resist him… at least until you finish your chips.

At this point the album seems to veer away from the sound of the 80s and over into what I’d suggest might be touches of filtered French House. ‘Été’, ‘Recontre’, ’’In Mind Dreams With You’, ‘Take A Moment’ and ‘ We Don’t Need A Spaceship’ all follow suit. The included reworked version of ‘Meet Me On The Dancefloor’ (Le Flex Fip) also receives the same treatment.

Arguably, given the two styles, the first nine tracks could make up an separate album in itself with the remainder becoming an EP. That’s not to say all the songs here don’t work together as a whole album, it is more that you move from one stylistic territory to another. However, it is all achieved rather seamlessly, and as a collective work reflects the album’s title which is, uh, well “suited” (pun most definitely intended).

“The Dancefloor Suite” is an affecting ride. It's light (but not lightweight). It gets you moving, singing along and thinking about (or thinking about finding) a lover (fairly much simultaneously.) And it's fun. On that note, I think it is important to understand the underlying humor that exists in Le Flex’s work. Let’s face it, if you are singing sultry loves songs with lyrics such as “I stare at your face, My heart starts to race, I can't leave your gaze, Burned up in the blaze”, to pull it off you need to be able to not take yourself too seriously or run the risk of sounding like a complete tosser. There’s a great balance on display here between the serious production values and the playfulness of Mr Le Flex which ultimately adds to the album’s overall success. Indeed, for further evidence of where Le Flex is coming from, this excerpt from his Bandcamp bio may enlighten you:“This album is dedicated to all the girls I've loved before. A few of you I knew personally but most of you I only watched with binoculars, sat in a tree outside your house.”

The production values are exceptionally high on “The Dancefloor Suite”. Instrumentation is carefully chosen to create exactly the right feel and the mix is expertly crafted for maximum clarity and punch, with plenty of space to hear everything clearly. Stylistically, there is no doubting there are many influences going on but you are more likely to find yourself trying to pinpoint exactly what these are, rather than calling-out an obvious facsimile.

If you are looking for uptempo, instrumental OutRun then Mr Le Flex is probably not your man. If you have been hanging-out for some high-end, smooth Euro-influenced, 80s soft-pop, backed-up with plenty of contemporary chutzpah, then I think you’ll be well covered here.

“The Dancefloor Suite” by Le Flex comes very, very highly recommended by Synthetix.FM and is available on Bandcamp here (for ‘name your price’) as well as via all other digital platforms.

If you want to check out Le Flex’s production techniques, head over to his You Tube channel for some entertaining and informative ‘behind the scenes’ videos.  Le Flex takes us through the making of several songs from “The Dancefloor Suite” in addition to some of his remixes. All of this will be very informative to anyone producing electronic music in a DAW. Watch and learn!



I had the pleasure to ask Mr Le Flex a few questions which he happily answered, in-between fielding hundreds of txt messages from young ladies and washing his Ford Escort in the driveway…

Listening to your music and seeing your behind-the-scenes videos on YouTube, it looks like you have a lot of experience with music production. Is that the case, and if so, what kind of projects have you been involved with?

Yeah I have been in the music industry and around production for a very long time. It's all I ever wanted to do and it's all i've ever done. I've had a lot of success in years gone by but I was never really happy with the music I was making. Writing songs and producing for others has never been particularly satisfying although I enjoyed it. I think because a lot of the acts I had to work with were just manufactured record company projects, there was never any artistry or honesty to the music so I found myself wanting to make music of a different kind. Le Flex allows me to do that. I don't even talk about the old stuff I used to do, it depresses me haha.


I read in another interview that you are very influenced by the likes of ABBA. I’d argue that their level of production and songwriting is the bench-mark for any great song. Would you agree, and would Le Flex be Benny or Bjorn?

Abba are the greatest musical force to walk the earth in my opinion haha. My childhood is filled with Abba. My parents were in the Abba fan club and we had all the albums and singles on vinyl and tape. I had posters on my wall and t-shirts, everything. They were and remain a huge influence on me. Everything you need to know about songwriting and production is found in their music. It's like the perfect guidebook. I learned to play their songs on piano and guitar and learned about chord structure and melody. But no matter how you try to emulate or copy them you will always fall short because their special ingredient was that touch of genius that ordinary people don't have. They are the Beethoven/Mozart equivalent in pop music. I once was at a songwriting awards show and stood within arms reach of Benny & Bjorn but couldn't bring myself to say hello. I just stayed on the spot with my mouth open like a moron haha.

Of the two of them, I am definitely a Benny wannabe. His chords and keyboard playing, along with his amazing synth sounds are the stuff of dreams. I don't think I could get a beard anywhere near as good as his though.


Are you consciously aware of the Synthwave scene? You have worked with Modal Recordings’ Ben Macklin whose Duett albums have made quite a splash in Synthwave.

I am definitely aware of the synthwave scene and I am a huge Duett fan. I watch loads of 80's movies from when I was young and the soundtracks are still so good. The Harold Faltermeyer and Jan Hammer era was so amazing. I find there are a lot of people making that kind of music nowadays and keeping it alive which is great, although the quality is sometimes questionable haha. I don't understand the obsession that some people have with being super authentic and having original analog synths, desks and reverb/delay units though. Back in the 80s and 90s I had all that stuff and let me tell you it's a bloody nightmare. Everything as plug ins in a computer with instant recall is so much better and more convenient. For me at least. If collecting gear is your hobby then fine, but don't say that your stuff is better because you paid £5000 for a compressor!


Many of your tracks on Soundcloud have had a serious amount of plays – ‘Meet Me On the Dancefloor’ has over 60,000 plays alone. Now I’m not pigeonholing Le Flex as a Synthwave artist, but many artists in that scene struggle to get those sort of numbers (which can often be a reflection of an insular scene). So it certainly looks like your music appeals to a wide range of people, across the board. Would you say people just see Le Flex as ‘good music’ first and they don’t worry about the genre?

That's interesting actually. I personally don't see Le Flex as a synthwave project although it's a tag i'll always include in uploads etc. I would just class it as pop I suppose. Artists are often so concerned with credibility that to label themselves pop would be out of the question, but for me it's the first label I'd put on my music. My Soundcloud plays I think maybe reflect the fact that my music is song based and not just a track, or even a track with a vocal on top. People who come back and listen again and again are doing so because a song has a much longer shelf life than a great club track for example. I'm sure my play count would be far higher if I actually bothered to do some proper promotion and social media which I really need to address. I just like the music making part I guess. It's interesting you should mention not worrying about the genre because it's not something I consider when i'm working. I basically just make what I want and hope that someone will like it.


When listening to Le Flex a number of artists come to mind. I’ve mentioned Imagination and George Michael in the review, even a little Rick Astley and Stock Aitken and Waterman. Notably these artist are from the UK. Do you think there is a UK influence in your work, specifically from artists that were big the UK pop scene in the 80s? Is that something inherent since you are also London born and raised?

Yes definitely. There is a massive UK influence in what i do. For me the magic spot is taking the USA soul and RnB sound of writers like Babyface and Jam & Lewis, and then putting a much more European pop melody on top. I think those soulful American chords only come from that style and the melody style only comes from Europe. Combine them and you have my idea of perfection. The best example of this is Rod Temperton who took his UK pop sensibility and applied it to the American soulfulness and wrote some of the greatest songs ever. Basically I want to be Rod Temperton haha. In fact I need to take 10 minutes to listen to Sweet Freedom and Baby Come To Me. Also the music of Stock Aitken & Waterman was a huge huge influence on me growing up. After Abba it was probably their sound and the songwriting of Mike Stock that got played the most at my house when I was young.


You’ve also done several remixes which have been very popular, particularly your remix of Kilo Kish’s ‘Curious’ which won you a remix contest. Is remixing something you enjoy?

I do enjoy remixing as it allows me to be creative without the pressure of writing the song. I've kind of slowed down on it a little bit as I get asked quite a lot, but if I think the song is good I will definitely give it a go.

The Kilo Kish remix was more an exercise in getting on the radar of Kitsuné so it served a purpose in that regard. I've also remixed Kelly Clarkson and Sia in an official capacity but the record label decided I wasn't a big enough name to use my mixes, which knowing the industry as I do, is no surprise whatsoever. Rest assured my remixes were fantastic by the way haha


What do you think of remix contests in general? Personally I find them to be cesspools of EDM swayed by an entrant’s ability to milk social media for votes, but hey…

There can be no arguing with that statement at all. Anyone with Fruity Loops and a Techno sample pack can call themselves a producer nowadays and the amount of crap you have to wade through to find anything of even medium quality is equally amazing and depressing.


Do you have your music with a publisher or have you been approached to have your music included in film or TV? I can definitely hear Le Flex in a TV series such as Amazon’s Red Oaks (set in the mid-80s). Would you be happy with £10,000 in return for ‘Feels Like Ooh’ being used in a laxative ad?

I used to be published in the old days but not any more. I like keeping control of my music and making sure it's not used in any laxative ads haha. Although, Feels Like Ooh would be an ideal title for laxatives or condoms adverts!! TV and film would be great. I'd like it to be in one of those calming films like Lost In Translation etc where the actor does lots of staring into the middle distance thinking about their lost love as Le Flex plays in the background!


Finally, what kind of guy is Le Flex? Does he like Pina Coladas and getting caught in the rain, or hanging outside the fish and chip shop with a miniature of Beefeater?

I am a lazy bastard. I procrastinate like a champion and have to work incredibly hard just to get off the sofa. I'm constantly fighting the urge to do nothing. It takes up most of my day.
Normally I try and read most of the internet in the morning and then again in the afternoon just in case I missed something the first time. Then i'll have dinner followed by a well earned Scotch and see if I can watch TV until bedtime before doing it all again the next day. When I do finally make some music it is normally rubbish. Sometimes though there is a little bit of gold in there which might become something good. My YouTube videos are almost like highlight reels. You don't see all the bad ideas I had before I got to the good stuff haha.




Thanks Le Flex for your responses!




Saturday, November 12, 2016

Synthetix Sundays



It's another huge special even this week on Synthetix Sundays as this week Marko presents the Dark Lords of Synth Special Volume 3, only on Radio Pure Gently!

There'll be a special segment dedicated to the very best in dark synth and slasher wave music featuring this monstrous interviews with some of the premier dark lords in the scene as Marko performs ritualised madness with Surgery Head, Volkor X and GosT!

This week there will be also be a very special edition of Quality Time With Shithouse featuring Marko and I chatting to Chris (Savage House/Sakura Night/Rio Blast/Sunset Cruisin' and a host of others!) and Shelby (Tanimura Midnight/Triobelisk) who were the men behind the legendary MOTU compilations, Ghost Car Records and Swedish Columbia Records about their past, present and future.

Plus a special segment with Jazzi Marzcat and also Synthetix Spotlight and two super exclusive tracks to premier from Dream Fiend and D.notive from the up and coming soundtrack from The Summoner, available  Friday 18th of November at Lazer Discs Records. As well as yet another exclusive track from Slicarus featuring Vampire Step-dad!!

Expect a tonne of hot tunes and loads of giveaways too in one hell of an epic show!

Tune in to Synthetix Sundays LIVE on Radio Pure Gently here, at 10pm Perth, Australia time. Please click here to find out when this is in your part of the world. As always the fully downloadable show will be posted here on Monday.




Thursday, November 10, 2016

Alex Giudici's Civic Duties



By Sarah Halloran

Isn’t it great when you stumble across an artist you’d never heard before, and find they have a substantial back catalog just waiting for you to pick your way through? That’s what happened with Alex Giudici, and while I only have time and room to focus on his latest album, ‘Civic’, I implore you to check out his older works. Be prepared for just a little diversity, and then some!

Okay, knuckles cracked, coffee imbibed and headphones on, let’s jump straight in! Actually, before I do, it’s worth mentioning that the first thing that jumped out about ‘Civic’ was its artwork. The cover art, also produced by Alex, is a fabulous mulberry-hued art deco cityscape that takes a refreshing break from the pentagrams, leather-clad bikers, neon grids and naked women peeking through window blinds artwork that is always doing the rounds!



Civic kicks off nicely with ‘Tyrannical Behaviour (Feat. David Kaye)’. It’s a cracking start. Tremendously dark with its quirky off-key notes and pounding energy, this track stirred up images of a dark and foreboding ‘War of the Worlds’ panorama with alien craft just emerging over the horizon, obliterating everything that dares to stray in their path.

‘Good Riddance’ features next. Picture a smoky bar and a rendezvous between two enemies. It’s amicable, although both survey each other with apprehension, their minds only one thought away from the guns at their sides. They both take a drink at the bar, discussing the deal they have been sent to agree. The music in the bar builds, a bassline pulses helped along by a rattlesnake percussion that further adds to the tension. The deal is done, both depart through separate doors. Nobody dies today.

The city awakens from its slumber, although it never really sleeps. In a dystopian world, where survival is a 24/7 occupation, the sunrise simply serves as a light source and not the beautiful vision it once was. ‘Sunrise’ is a glorious track. Clean and cheery notes muscle their way through a dark underbelly of oppression, rising from the ashes to meet the sun as it takes its place high above the city to shine down on the death and destruction below.

Title track ‘Civic’, ‘Ride Behind You (Remastered)’ and ‘Beyond Emotions (Feat. Michael Ansara)’ make for perfect night-driving companions with their beautiful piano melodies, edgy synths and dank basslines. Forget the high octane mindless drive you might be expecting; these are tracks that evoke at-the-wheel contemplation at its very best. Girl let you down? Man left town? Get out there and let the music heal your soul.

I think I’ve mentioned it in many reviews, but I do love to hear a good bit of synthwave sax, and ‘After Dark’ doesn’t disappoint. The sax is just wonderful in that lazy, hazy jazz club kind of way, and sounds fantastic through headphones.

Okay, ready for some of that Alex Giudici diversity I was talking about before? Well, next track ‘Star Wolf (Feat. Jock Blaney)’ really changes the pace. The opening notes put me in mind of Sega’s ‘ToeJam and Earl’ and I hope I don’t do Alex an injustice by saying that! It’s pure Funkatron through and through! And then I’ll be damned but we’re treated to some panpipes! I wasn’t expecting those to appear, and usually I hate panpipes with a passion. And all of this amidst some wonderful synth action and ‘Star Fox’ samples. Ah, the memories.

Want to know what drew me to ‘Civic’ despite the artwork? You don’t? Well I’m going to tell you anyway. Scrolling through the track listing I came across ‘Rhythm of the Night (Remastered)’ and that sparked my interest! And it works! Really well! I imagine this was a lot of fun to break down and produce. Deliciously layered with an eclectic range of synths, this will have you singing the chorus you know so well whilst also appreciating the original track in a completely new light.

Hey do you want more of those quirky slightly off-kilter notes? Do you have a bit of a thing for evil computers? Then you’re going to love next track, H.A.R.D.A.C. (Feat. Kevin Conroy and Melissa Gilbert). This is my favourite track on the album, and conjures up images of a trash-strewn, post-apocalyptic landscape, devoid of obvious human life and inhabited only by android lifeforms. It’s only when you look closer that you realise the androids are people you once knew from a life you can barely remember.

The album is rounded off nicely with two killer tracks of equal merit, but with very different soundscapes. ‘Sex Sells’ is top-heavy with drums and accompanied by a brutal throbbing bassline and beautifully arranged synths. This is an album of contrasts and closes wonderfully with gorgeous heartstring puller ‘Tears in Rain’.

When you listen to ‘Civic’ a few times it’s obvious this is an album that has been carefully planned to perfection rather than just a compilation of finished tracks that have been lumped together for the sake of releasing an album. What’s next for Alex? Well, he’s got a number of things in the works including remixing the original Tomb Raider theme and more remixes from the Portal 2 soundtrack. You’ll also find a beautiful piano rendition of title track ‘Civic’ and an awesome mix of La Roux’s ‘In For The Kill’ on his Soundcloud channel.

Alex Giudici’s ‘Civic’ album is available to purchase on Bandcamp here, and comes very highly recommended by Synthetix.FM.