Today in artist spotlight we have a seasoned artist, a true veteran from Indiana who worked for 20 years in the video game industry as an art director, animator and sound designer. He decided to use his talent for making some gorgeous synthwave tracks and the result is amazing.
His debut album Electron Odyssey is full of surprises and guest performers. This post is tribute to this level of professionalism.
Meet The Horizon starts with a sudden glide and sweep, to continue with some sweet chords and drum kit. It already strikes as very well arranged. The bassline which was always there, hardly noticeable since it totally blends into the composition just as the very subtle pad. The effortlessly presented lead is varied, harmonic and before we know it, a short bridge sequence with some clever tempo shuffling gets us to the second verse. The lead and a plucky secondary lead finishes off the song.
Show Me The Way sets the atmosphere with some genuine crackling effect and some 70s synth with a matching drum set. It’s again cleverly arranged, the distorted vocals still makes it futuristic. The second verse starts with pitch shift but not too much. The bridge is a quiet part with some nice reverbs but then we get a piano solo! Very unique synth backed true solo, filled with plenty of variation and jazz-like elements. The main theme comes back at the end of the song. In the background we also have some really nice strings.
The next song Computers Control is on the modern side. Starts with a distant filtered bass (panned to the right) and voiceovers. The kickdrum introduces the elements one by one, the pads the initial lead the song switches keys. It has some techno vibes, then it shows its true colors with random (really random) sounds to emphasize the computer theme of the song.
The song The Stars Disappear starts with car starting, then driving away. Some nicely glided pads and bass leads up to the really great vocals of Drew Tyler who really delivers very smooth singing here. The background also features a guitar which serves as a background lead because Drew really steals this show. The drums blend into the song so well that only the fill-ins and the solo parts - we get a solo here too - brings them out.
This is not a happy song but more like a philosopical one. It still fits together nicely.
Where Memories Go is a cinematic score. Starts with plenty of reverb, mystic drums, distant and detuned synths it a minor key just to make it even more impactful. Right at the half we get a bridge which is rather thin - the song simply thins away to give room to some mystic gliding sounds which leads to long pads and almost never-ending reverbed distant sounds. It’s really amazing.
Dream With Your Eyes Open almost sounds like a command. It definitely helps that a vocoder tells us quite a lot at the beginning with nice pads, reverbed sounds just to stop with a glitchy effect - but that is just to pull in the great drums, pads, guitar like bass and a nice gliding secondary bass. At this point the voice starts speaking again while in the background the pads, bass and clever plucky instruments builds up the song again then it - suddenly stops. Of course this is just a trick, we get all the great drums, bass, lead, guitar back in a second. This song really shows how to make a point. It doesn’t even try to pull other stunts just simply fades out.
Gold On Grey starts with the crackling effect too, nice toms, plucky bass and leads - almost like guitars. A vocalizing singing voice complements the song making a good atmosphere. This one is really an easy listening one, no heavy messages or smashing drums but really just subtle and nice arrangement.
With Reborn we’re back to a grim reality. Starting with a beeping heart monitor and some horror-like sounds. Next we get all the ingredients for a proper nightmare, served masterfully. Almost threatening lead, bass and vocoders simply complimented with properly placed drums, maybe the only sane element in the song. The second part gets a bit softer, revealing that this is another cinematic score - but not too soft. The grinding background guitar and the de-tuning lead keeps up the atmosphere was set. It ends with a sound effect - listen to it for a surprise.
Autumn Words starts with some a nice arrangement of lead, bass and drums. The lovely vocals from Megan McDuffee again defines the main theme of this song too. It’s very professional and well presented. The song is atmoshperic and it is filled with nicely reverbed pads, drums and even leads. Still, the vocals are dominant here, all the great arrangement stays in the background when needed. The surprise element here - apart from the great vocals - is a true guitar solo at the end!
With the beginning of The Way Forward we get another cinematic beginning with some atmospheric heavily echoed and reverbed sound effects, pads and gliding bass. Sweeps, plucking leads and a drum lead-in brings in the main instrument: a proper electric guitar. It really sets the bar but then suddenly the bridge is quiet. Just some sweeping and gliding pads and bass with a distant background lead but that’s way enough to introduce the second verse. Just like at the beginning the guitar makes a comeback. The surprise in this song is the ending.
Sunrise One is the first song with a really happy tone. It starts with pad chords, pleasant leads and the first verse is all just nice leads switching each other. The drums also bring in a nice guitar backing. The quiet bridge here also comes back with instruments put back one by one - or it would seem so - but the distorted guitar solo fills this one! When all the instruments come back snother quiet bridge brings in the final verse: all in unison.
The closing song Mother Of Machines is another cinematic one. Some mechanic sounds at the beginning sets up the mood but it’s surprisingly - again - not a futuristic song but rather a chilled, smooth strings-filled one with minimal drums, bass and leads. The key trick here is the key itself. The backing arpeggio is in minor. The bridge is again quiet, with the arpeggios and strings come back and trombones and strings make an even bigger impact. Around the end the song is less than chilled, it slowly evolved into a bit of a menancing tone, doing this the cinematic way. The lead-out is a sound effect, winding things down. Literally.
The album is a really fresh take on blending synthwave, rock and cinematic scores. While some songs are definitely easy sounding and pleasant, the rest of them are strong, cinematic and thought-provoking ones. It is definitely worth a listen (or more!) to get the full message.
It is available on Bandcamp,SoundCloud ,Spotify with orderable CD, cassette and poster! As always, consider supporting your fellow artist.
Highly recommended!