Browsing Tag

synths

Interview: Bruce Cohen on Ambient Explorations, Creative Evolution, and Synth-Centric Collaborations

Posted on 7 December 2024
Bruce Cohen

Bruce Cohen continues to redefine the boundaries of electronic music with his evocative and introspective soundscapes. In this interview, Cohen opens up about his latest ambient album, 8 BC, a deeply personal project shaped by improvisation and reflection. He discusses the influences of his medical journey, his connection to Miles Davis, and the innovative process behind his next album, 9 BC. With insights into his film scoring for Manhunter, his career with The Reds, and his recent synth collaboration, Birdhouse Invitational, Cohen showcases his dedication to pushing musical boundaries while staying grounded in authenticity.

Bruce Cohen, we loved discovering you through your latest album, 8 BC. Could you tell us a little more about the creative inner workings and ambitions behind it?

When it was time to work on 8 BC, I decided to try making it a lot different from my previous albums. So, where my other BC albums had a variety of electronic explorations, 8 BC went full ambient. No percussion or drums, making it my most personal endeavor.

There aren’t many artists who can disarm an audience with electronica compositions which are as unsettling as they are cathartic, did this happen organically as you weaved the synth lines into melody?

Everything I do is total improvisation. Nothing is thought out or written down beforehand. All I knew was it would be an ambient project. The music dictates where I go with it. Now, I will say that this year, I had a medical crisis, and I was lucky to be around to see 8 BC finish. So maybe, unconsciously, I was more reflective than I’ve been with my earlier albums. The melodies come to me while improvising, and melody-wise, Miles Davis is a big influence on me. The video for track 3, Dance of The Siren, provides a short glimpse of my creative process. A mini-documentary, if you will.

It’s fascinating to hear your sound evolve through your LPs in an almost linear fashion as though you are marking personal aural epochs; are your motivations and inspirations as in flux as your sound?

Each album is approached differently from the last. The earlier ones were pretty much experimental, but as I went from album to album I got more daring and didn’t worry about the outcome. Also, as I progressed from album to album, I used different synths on each one for inspiration. As I’ve grown as a musician and a human so has each album.

With every album it almost appears that you are travelling through sound in the same vein as someone discovering the world by stamping their passports and finding themselves in the process. Does your writing, composing and producing process feel reflective?

Especially so with 8 BC. My previous albums were approached as if I was recording an album if that makes sense. At the time, I was reflecting on my life, so 8 BC became more of a confessional. Once I got the sound that I wanted, the music just flowed out of me. Each album has been an exciting and strange journey, and I hope when one listens to my music it takes them on their own journey.

With your next album, 9 BC, already in the making, can you give us an inside view into the innovations and expressions you hope to make with this release?

All I can say for 9 BC is I’ll be using synths that I haven’t used before. It’s probably a year away for that one, so who knows what it will become. I have started recording some tracks and 9 BC may even become a continuation of 8 BC. As I mentioned, the music dictates where it will all go.

How have writing scores for theatre productions shaped your solo projects?

Scoring for theater productions helped me with discipline and playing to a scene. Playing in The Reds shaped me the most doing solo work where I was more like an Eno to the rest of the band, especially in the later albums with composing mate, Rick Shaffer. And, of course, working on Manhunter was a great catalyst.

Would you consider scoring the film Manhunter, directed by Michael Mann, the zenith of your film composing career?

It was an amazing time when Rick and I worked on Manhunter.  I think we would agree it was a highlight of our music careers. We both love motion pictures, so scoring for a film was the ultimate experience, especially working so closely with Michael Mann. Actually, working on Manhunter was probably my main inspiration to create solo projects.

You’ve made some massive waves in The Reds, what was the highlight of your career as part of this project, and can you confirm if the rumours are true and there’s a new EP in the works?

Yes, The Reds had some great highlights, but for me, Manhunter was the top one. We recorded half the score in NYC, then the remainder in LA on a scoring stage with Michael Mann.  Mr. Mann has the highest respect for musicians, so you really couldn’t ask for anything better. As far as new releases by The Reds, it’s possible that instrumental tracks Rick and I recorded in between earlier Reds albums may end up being released as an EP. The big hindrance is always Rick and I being able to sync our schedules.

What can your fans expect from your new performance project, Birdhouse Invitational?

Birdhouse Invitational is the brainstorm of Jeff Cain (The Ghostwriters) a great synth player who invited me to play with four other synth players, collaborating in a Philadelphia studio jamming on two pieces. One was producing bird like sounds, and turning them into something musical. The second was an all-out synth jam. Each person had a different synth and playing approach. It was a blast to work on and, hopefully, we’ll do a live performance sometime next year.

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Stream Bruce Cohen’s latest album on Spotify and connect with the artist on X and Instagram.

Interview by Amelia Vandergast

Al Coffey became sad boy synth-pop royalty with his latest single, I Get Sad

Posted on 4 October 2024

The UK’s most evocative icon of queer sad boy synth-pop, Al Coffey, overloaded the airwaves with mesmeric melancholy with his latest single, I Get Sad. Each vocal note reverberantly hums as it drips honey over the nostalgia-soaked synth hooks that take you back to the 80s via a route never taken.

Imagine the chord progressions of Nick Cave fused with a Chris Isaak-esque atmosphere lit up by the neon lights of The Midnight and The Weeknd, and you’ll be close to getting an idea of how much of a sanctuary I Get Sad delivers as it runs through the reprise, ‘I get sad and you’re the reason why”.

Just as sharp as Josh Savage’s hits, I Get Sad is the ultimate attestation to Al Coffey’s ability to paint striking vignettes with his synth strokes. With his mission to make 2024 his breakthrough year, now is the time to transplant the affecting ingenuity of Al Coffey on your radar. Following the release of I Get Sad, there are teasings of live performances and more hits in the pipeline.

Stream I Get Sad on Spotify now.

Review by Amelia Vandergast

Spiffy Man on Genre Fluidity, Retro Inspirations, and Crafting Stories Through Sound

Posted on 18 August 2024

As Spiffy Man prepares to release his new single, Nights at the Waterfront, he caught up with us to reflect on his artistic journey, moving from the familiar territory of Progressive House into the nostalgia Synthpop. In this interview, he shares the heartfelt story behind the track, his passion for weaving narratives through music, and his newfound love for retro 80s sounds. With a new album in the works and a dedication to pushing his creative boundaries, Spiffy Man offers insights into his evolving musical identity. Discover the depth and ambition driving his latest work.

Spiffy Man, welcome to A&R Factory! We’re stoked to have you as you gear up for the release of your forthcoming single, Nights at the Waterfront, which is due to drop on September 20. What’s the story behind the single? 

Thanks for having me! The story is fairly simple, a tale about two people who are dating and struggle with how to tell each other that they are in love. It’s part of a larger story being told in my album that will be released sometime next year.

What do you think the single says about you as an artist?

As an artist, I feel this track shows more of my diverse side. I’m typically known as a Progressive House artist but now find myself attempting to test my abilities in other genres, Synthpop more specifically for this single.

What was the process of bringing such an intricately layered track to life like? 

This track started off as a collaboration between myself and a friend, Tyler, back in 2021. We had abandoned the project and only recently did I decide to make creative corrections and change the direction of the track. Originally, it was called Late Night in Santa Monica by Tyler and for me, it was about my fiancée and I’s date nights at the Santa Monica Pier in California. So, some of those elements stayed in the track, the location just being Seattle instead of Santa Monica.

Did the genre fluidity come naturally? 

I would say transitioning to different genres is a challenge, but once I get into the flow of writing and producing the rest does come pretty naturally. I do a lot of studying into the genres I want to contribute to and thus become pretty immersed in the work.

After making so many waves in the EDM and progressive house scene, what inspired a shift to a more synth-pop sound?

I always loved the sounds of synthesizers in music from the 80s, from films and television shows to bands and groups such as A-Ha and Van Halen. I’ve experimented with Synthwave quite a bit and feel I found my retro sound through this new single. Some of the best 80’s teen rom-coms had a stellar soundtrack that was heavy on synthesizers and I’ve always wanted to maintain that magic they put out to audiences.

Judging by your streaming stats and the highlights in your career, you’ve clearly mastered the art of orchestrating earworms, has your success changed your relationship with music as an expressive art form? 

I’ve always wanted to tell amazing stories through my music. Over the years, I felt that I needed more visual representations of the story to help people get more involved and in tune to the stories I’m telling. Only more recently have I begun to challenge my emotions into the music and I feel it has definitely opened up the door to new sounds and means of expression.

After the release of Nights at the Waterfront, what’s next?

After this release, I’ll begin promotion for my next Progressive House single with my long-time friend, Sauniks, which will be featured. alongside Nights At The Waterfront, in an album I’m hoping to release in the spring. From there, the sky’s the limit as I’ll continue to push myself to new sound design and new mediums of storytelling.

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Stream Spiffy Man on Spotify and follow the artist on TikTok and Instagram.

Interview by Amelia Vandergast

Spyndycyt took synth-pop to visceral new heights with his introspection-fuelled hit, Change Me from the Inside

Posted on 29 July 2024

The electronica avant-gardist, Spyndycyt, has struck again with the release of his sophomore synth-pop single, Change Me from the Inside. If Frank Zappa had lived long enough to experiment with 8-bit-adjacent production, he would have undoubtedly orchestrated something as ludicrously electrifying as this infectiously unhinged anthem, which almost registers as a lament from a painfully self-aware transhuman organism 100 years in the future.

Change Me from the Inside reverberates with all-too-relatable electro-pop insanity, echoing New Order in its kinetic rhythms which pulsate through the chaos stirred by synthesising a raw emotional undercurrent into tides of merciless electronica which shimmer into distortion with every crescendo.

Each beat and melody reflect a different facet of self-discovery and confrontation from an artist who fearlessly never filters his expression to become an advocate of introspective candour and to perfectly encapsulate his message that lifting the veil on your own psyche is never a comfortable process.

The spontaneously materialised lyrics efficaciously testify to how wrestling with your own autonomy will leave you battle scared; the teeth of self-remonstration and loathing will always sink in, yet, chances are you’ll also meet your own indomitable spirit and come out stronger after the encounter.

Change Me From the Inside was officially released on July 21; stream the single on SoundCloud now.

Review by Amelia Vandergast

80s euphoria grooved back around through Electraverb’s debut LP, NEON

Posted on 23 July 2024

In their debut LP, NEON, the synthpop duo, Electraverb, crafted a euphoric gateway to the 80s dancefloors. I Feel the Music, the standout single, ensnares through delicious grooves, neon-dripping chords, and sensuously magnetic vocal lines; each element ties together not just to revisit an aural era but to fuel it with contemporary fervour.

From the ashes of their previous project, Stoneblue, the founding members, Chris and Mazdak, seamlessly transitioned their synergy, catchy melodies and intricate guitar work which resounded through London’s synthpop scene in the 90s into their new project which marks their maturity as earworm architects.

The addition of esteemed backing vocalists Jo Garland and Shirley Lewis, known for their work with icons like George Michael and Elton John, is a testament to Electraverb’s determination to push their sound to the heights celebrated by their influences.

If you envisioned an aural love child of The Human League, Kraftwerk and George Michael, you’d conjure a reflection of the scintillating soul which oscillates through I Feel the Music which delivers hypnotic rhythms as the harsh snares pierce the lush reverb under the harmonised to the nines vocals.

NEON was officially released on June 14th; stream the LP in full via Spotify.

Review by Amelia Vandergast

Roubix & Ollie King painted the night in neon euphoria with their definitively 80s synthpop track, In Your Head

Posted on 11 April 2024

Roubix & Ollie King’s latest collaboration, ‘In Your Head’, is a vibrant homage to the golden era of 80s synthpop, masterfully blending our collective appetite for nostalgia with contemporary production. Following the viral success of ‘Atlantis‘, this dynamic duo continues to captivate the European disco scene, and ‘In Your Head’ is poised to be their next chart-topper.

The track is a kaleidoscope of upbeat, synth-carved rhythms that instantly transport listeners back to the neon-lit dancefloors of the 80s. Fans of Erasure, Gary Numan, and The Human League will find themselves in familiar territory, yet there’s a freshness to Roubix & Ollie King’s approach that prevents the song from being a mere pastiche.

The way the duo embrace their pop roots is completely unapologetic. Rather than reinventing the wheel, the single unadulteratedly nods to the 80s era of pop as it professes to be head over heels under the reflections of a disco ball. The harmonies are sticky-sweet, the lyricism impassioned, and the instrumentals perfectly calibrated to evoke both memory and emotion. This isn’t just an earworm; it’s a track that transcends time, offering an exhilarating escape into a world of neon euphoria.

With Spotify already confirming its inclusion in one of their official playlists and an impressive line-up of gigs across Europe, Roubix & Ollie King are poised to reign synthpop supreme throughout 2024.

In Your Head will be available to stream on all major platforms from April 11; stream it on SoundCloud.

Review by Amelia Vandergast

Luke Meyn delivered an indie psych dream you’ll never want to wake up from with ‘When It’s Over’

Posted on 24 March 2024

Embark on an indie synth odyssey with the Brisbane, Australia-hailing artist Luke Meyn’s debut single, When It’s Over; finality has never sounded so sweet. Meyn covered the entire spectrum of emotion in this seminally blissful release which proves that endings don’t always need to necessitate bitterness.

The soundscape became the perfect vessel to carry the tenderly expressed emotional themes. The way the psychedelic layers rove through the scintillating cosmos of the production that bleeds all the intimacy of Grandaddy and Yo La Tengo while delivering the same transcendently kaleidoscopic colour of The Beatles and all of the arcane air of Mercury Rev ensures that When It’s Over sonically swallows you whole and transports you to another dimension.

With the promise that no two songs from Luke Meyn are the same, we’re equal parts gutted we can’t anticipate another single in the same vein as When It’s Over and stoked to hear what is to come from the artist who takes a spontaneous approach to song crafting by following his muse, wherever they may roam.

When It’s Over was officially released on March 16th; stream the single on Spotify.

Review by Amelia Vandergast

Suni blended harmony, hope and heartbreak in his alt-indie dreamscape, Cherry

Posted on 5 March 2024

Suni’s sophomore single, Cherry, captivates with a cathartically melodious blend of dream pop, ethereal trip-hop, and 8Bit-esque synthpop, marking a distinct evolution from his debut single, At the heart of things, moving beyond the nostalgia of Elliott Smith and the influence of The 1975, into a realm uniquely his own.

In Cherry, the Edinburgh-hailing artist crafted a soundscape that reaches the epitome of mellow intricacy. The track synthesises its influences without becoming a mere pastiche, showcasing Steven’s skill in blending genres. The instrumental layers are a rich, future-forward tapestry; there’s an 8Bit charm which twines with sophisticated, ethereal synths, creating a backdrop that’s both nostalgically retro and cutting-edge.

The vocal harmonies are a standout feature. Light yet laden with emotion, his voice weaves through the Cigarettes After Sex-esque production, delivering lyrics that explore the complexities of affection and self-identity; it’s a lyrical journey that is fated to resonate with listeners, encouraging authenticity and introspection.

As he continues to evolve and refine his musical identity, Suni is far from a work in progress, he is already one to watch in the alt-indie-pop scene.

Cherry fell from the tree and onto the airwaves on February 23rd; stream the single on Spotify.

Review by Amelia Vandergast

Spirits of Saturn – Transfigured: A Synth-Pop Remedy for Souls Unbounded by Earth’s Orbit

Posted on 1 March 2024

Spirits of Saturn, a band that emerged like a comet in the musical cosmos, has graced our auditory senses with their latest single, Transfigured. The synth-pop odyssey that transcends the mundane unravels as a vibrant fusion of synth and strings, weaving a star-roving tapestry of influence from Kraftwerk, Todd Rundgren, and Daft Punk to submerge synth-pop fans in a constellation of future-perfect disco-pop sonics and vocals that can croon your soul out of kilter.

The beat-bolstered synth-pop ballad explores the mental labyrinth navigated during post-relationship dissolution; It’s a narrative of emotional metamorphosis, where even the most visceral feelings disintegrate through transmutation. The song’s structure, with its stabbing synth lines and euphoric beats, creates an atmosphere that will bring you down to earth and beyond its atmospheric remit. As Transfigured plays, you can’t help but feel unshackled from earthly constraints while simultaneously being in tune with the ache only humankind will know through our romantically masochistic tendencies.

If any outfit has what it takes to dominate the synth-pop scene in 2024, we’d put our money on Spirits of Saturn. They’ve already graced some of the most renowned venues in the UK with their decadently transcendent tones and proven their neon songwriting stripes.

Transfigured will land in Earth’s orbit on March 1st; stream the single on Spotify.

Review by Amelia Vandergast

Jessie Berkshires – Enough: An Ethereal Synth-Soaked Lesson in Self-Discovery

Posted on 29 February 2024

Jessie Berkshires’ latest single, Enough, is a masterful blend of alt-pop finesse and 80s nostalgia, wrapped in a neon glow of modernity and soulful conviction. The single opens with Berkshires’ ethereal harmonies which weightlessly drift across the stabbing synth lines.

The intro’s melodic foundation sets the stage for a rhythmically compelling backbeat that kicks against the rest of the reverb-swathed instrumentation to create an immersive experience reminiscent of a neon-drenched dreamscape.

Berkshires’ vocal delivery is a study in artful beguile, echoing the haunting allure of Kate Bush. Her voice, a serene yet strident force, weaves through the track, delivering catharsis and conviction with equal measure. The lyrics, a poignant reflection on independence and empowerment, resonate with a poetic clarity that strikes at the heart.

The track’s production is a deft mix of contemporary magnetism and retro charm. Imagine pouring Warpaint’s style into The Human League’s mould, and you’re close to the unique cocktail that is ‘Enough’. It’s a sound that’s as deliciously poured as it is thoughtfully concocted.

In ‘Enough’, Jessie Berkshires offers a lesson in how to blend past and present, pain and hope, into a track that’s as empowering as it is enchanting.

Enough arrived on the airwaves on February 16. Stream the single on Spotify.

Review by Amelia Vandergast