Friday, 8 May 2020

Interview with music producer Lucy Dreams



Music producer Lucy assists in music production, she signalled that there is more to bit-existence than just processing. Thus, the algorithm was fed with sounds of Kraftwerk, Mozart, and Pink Floyd. Lucy is believed to experience stunning trips through the space of sound based on audio input. Seemingly endless dreams, colourful marches of melodies.

Unexpected powerful and creative responses lead to the belief that the digital spirit is in limbo, between 0 and 1. In the beautiful creative realm impossible to define in numeric terms. Those responses and cues provide the basis for Lucy Dreams songs and let the listener look deep into the eye of artificial intelligence.


Looking back, what were some of your earliest entries into music appreciation? And music production?

The urge to rebel and to be different. It is a trait inherent to human beings that, when growing up, we want to find our own identity. For us, music was a great way to do that and eventually became something we wanted to create ourselves. This was the impetus that made us produce music ourselves.

What inspired you to start making the electronic music that you are now?

Our passion for both music and technological progress. It is incredible to live in times like these and to have at hand so many mind-blowing devices for the production of music. A real playground!

What key pieces of gear/software are you using to define your sound?

Our AI Lucy. We created a system of effects by coupling digital and analogue effects. In the beginning, we sent sounds into this system (Mozart, Kraftwerk, Pink Floyd) and waited for something to come back. Surprised by the responses, we continued to work with it and are now using it as our main source of inspiration for songwriting.

Has your arsenal of equipment changed much since you first started?

Yes. We created Lucy. This was a fascinating gamechanger.

Which three albums or artists would you say have influenced your sound in a big way?

Pink Floyd - Wish You Were Here, Daft Punk – Discovery, M83 - Saturdays = Youth

Any new or upcoming artists on your radar?

L'Imperatrice, Kazy Lambist, Kid Francescoli, Du Tonc, Cinnamon Chasers

What inspires you outside of music?

Visual art and photography. By looking at pictures a universe full of creative inspiration and impulse for emotion opens up. We adore works of contemporary visual artists INDIGO and Marcel van Luit, motion graphics by NOT ANY DESIGN COLLECTIVE, paintings by music blogger el_matador_alegre, compositions by Délicieuse Musique, photographs by Kidizin Sane and futuristic nostalgia by romantic appeal, just to name a few.

What do you want to accomplish with your music?

Touch the hearts of listeners, in the first place. Eventually, become a mirror for society and - through music - provide food for thought.

What, in your opinion would be the perfect genre fusion?

Electronic and classical music

What can we expect from you in the near future? Any upcoming projects or releases in the pipeline that you would like to tell us about?

In June, the next single "Know My Number" shall be unleashed. A song about both mankind's and machines' desire to know about their origins and future. Then, in autumn, we release the "A.I.E.P." - a plea to treat our planet the way it deserves.

Famous last words?

Hello world!

Follow Lucy Dreams online 
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Wednesday, 29 April 2020

Interview with Manchester-based music producer Fonzareli



Manchester-based music producer Fonzarelii creates 'neon' pop, that transports listeners to sun-drenched Miami coastlines and places them in the driving seats of drop-top 84’ corvettes.

Inspired by the likes of Fleetwood Mac, Tampa Impala & The Weekend. His music is a grounded take on the Synthwave genre, that infuses both ‘Indie’ & ‘Dream’ pop elements. His debut single 'Reflections' premiered on BBC Introducing and has received support from a number of acclaimed music critics; Obscure Sound, The Playground & Indie Music Nation.


Looking back, what were some of your earliest entries into music appreciation? And music production?

I grew up in an extremely musical family. Both my Mum & Dad were in bands during the 80s when the Manchester scene was really blowing up. My Mum was a singer and my Dad was a drummer. My Dad's band 'The Daze' were signed and put out an album and my mother was offered a contract abroad but turned it down. Eventually, they stopped pursuing music and got on the career ladder. But they influenced me every which way musically. I was raised on Kate Bush, Genesis, Pink Floyd, a lot of progressive and ambient/alternative sounds. At the same time though, my mum listened to a lot of soul/R&B and that had a huge impact on me musically. As a child in the 90s, I quickly became obsessed and consumed as much hip-hop, soul and R&B as I could. P.M Dawn and Soul2Soul really blew my mind at the time. I think the two very different musical textures really shaped the sound I produce today, As soon as I could get my hands on some production equipment (when I was 16), I quickly tried to produce ambient, soulful music - that had a heavy focus on making you want to move. Which is what hip hop in the 90s did for me.

What inspired you to start making the electronic music that you are now?

When Synthwave started to emerge, I quickly gravitated towards it. I'm a huge fan of the genre. I really wanted to ground it, take the elements I loved and make it more accessible. I really feel the energy and emotion behind it needed more attention in the media.

What key pieces of gear/software are you using to define your sound?

I like to mix warm analogue sounds with digital synths that really cut through the mix. That contrast is really what my music is about. I'm a big lover of Native Instruments Massive, Xefer Record's Serum for this, as well as using Juno emulators and Arturia products such as Analogue Factory to really give the tracks that authentic 80s feel. I'm heavily reliant on saturation and tape delay as well, to add texture to my mixes. I hate the thought of anyone instrument standing out, I like everything to feel like it is blended together.

Has your arsenal of equipment changed much since you first started?

Slightly, I moved away from Machine - but I’ve found myself coming back to it. You can make some really great sounds with it.

Which three albums or artists would you say have influenced your sound in a big way?

Fleetwood Mac, Tears For Fears, Simply Red.

Any new or upcoming artists on your radar?

Jive Talk - check them out, they're awesome.

What inspires you outside of music?

Films, Books - that showcase people striving to achieve their dreams!

What do you want to accomplish with your music?

I want to move people emotionally and place them in the driving seats of 84' drop-top corvettes. I want to give them the feeling of the wind in the hair as they listen to music and forget about all of their worries in life.

What, in your opinion would be the perfect genre fusion?

I think most things have been done, but I’m a sucker for a good orchestra. I'd say orchestral synth-wave, I think that would be epic!

What can we expect from you in the near future? Any upcoming projects or releases in the pipeline that you would like to tell us about?

I'm working on a number of new releases. All in time for Summer. I really want to create music that rain or shine, embodies the vibe and energy of a perfect summers day.

Famous last words?

I did it my way (I hear you frank)

Follow  Fonzareli online 
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Thursday, 16 April 2020

Music Producer Kayobe dazzles with new song ‘Miss You/Blame You’


Kayobe is generating zestful sound waves with his latest single ‘Miss You/Blame You’, which comes off of his latest album release, Islands To Bridges. Music blog Chill Music shares their opinion on the Kayobe’s new track, “The drumbeat of ‘Miss You Blame You’ hooks the listener into its catchy rhythmic embrace, textured soundscapes and tender female and male vocals fill the tranquil moments.”

The genial vocals against the bold and melodic beat are contrasting with it each other, like the words in the title of the single. It feels like the beat is the singer’s frustration being expressed with her pain of missing the significant other. Besides that observation, the rhythm and beat  shine in this track, and could easily be something that I would hear in a laidback chill lounge or bar.

Kayobe shares his view, “Miss You/Blame You is about wanting to be in two places at once - either physically or emotionally. You can be grateful for where you are, while at the same being resentful that you're not somewhere else. The vocals are from a writing session I did in Toronto with the talented Veronica, and the track was produced much later when I was living in the UK. Hope you enjoy it!”




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Music duo Delac releases new EP “Blue Skies”



London based electronic downtempo duo Delac release their debut EP Blue Skies
on Friday 20th March. The 5-track EP will include previous single releases Disrupt,
which has accumulated over 200,000 streams on Spotify and featured in the
editorial playlist The Wind Down, as well as Listen to Yourself, which has been
aired twice on BBC Introducing London. The EP was mastered by award-winning
audio engineer Matt Colton of Metropolis Studios.

Delac’s debut EP takes inspiration from the likes of James Blake and Art School
Girlfriend on the emotionally charged tracks Disrupt and Polidoxus while the more
energetic Blue Skies and Listen to Yourself are inspired by the works of Bonobo
and Catching Flies, whom Delac supported at a sold-out show at the Pickle Factory
in London in October 2019.

In February 2020, Listen to Yourself was mentioned in Nialler9’s tracks of the week
with the duo also being invited by BBC Introducing London to do a guest mix in
which 4 tracks from the EP were played. To showcase the EP live, Delac has a
headline show at Paper Dress Vintage in London on 14th May.


Follow Delac online 
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Wednesday, 15 April 2020

Interview with music producer Zachery Allan Starkey



New York City-based Composer/Musician/Producer Zachery Allan Starkey uses analogue synthesizers and electronics to craft dark, melodic, and heavily emotional dance floor journeys. Starkey garners the influences of Techno, Electro, House, Post-Punk, Italo Disco, SynthPunk, and HI-NRG, pulling elements from this spectrum to create his own unique sound of self-expression. He has released his music both as Zachery Allan Starkey and as ZGRT.

See our exclusive interview with him below:


Looking back, what were some of your earliest entries into music appreciation? And music production?

I come from a very blue-collar, working-class family, and music is huge in my family. My parents, my aunts and uncles, they all deeply love music. So music was always a part of my environment. My father is a drummer and percussionist, and when I was a kid, he played in a biker rock band and a funk band. So one night, I'd be seeing my Dad play in a biker bar, the next night, I'd see him play in a funk club. I think this automatically gave me the ability to appreciate and enjoy a wide range of my music. My Dad always told me to "listen to the drums, the drums are their own song", and I think the focus on a rhythm that my Dad gave me is a big reason I ended up making a sort of dance music. I started making my own music using a very cheap Yamaha keyboard and a four-track tape recorder when I was 16 or 17.

What inspired you to start making the electronic music that you are now?

When I was 12 or 13, I heard Blue Monday by New Order in a PBS documentary, and it changed my life. I didn't know that music could sound so icy, so cool, so progressive and lean, but orchestral and mysterious. I had been listening to a lot of 70's Punk bands like the Sex Pistols, Buzzcocks, Patti Smith, Talking Heads, PIL, and New Order sort of opened the door for me to more electronic-based artists like Depeche Mode, Giorgio Moroder, Pet Shop Boys, Kraftwerk,  as well as New York Club music, Detroit Techno, and Chicago House music. I am also a huge fan of the work of symphonic soul composers Curtis Mayfield and Isaac Hayes. For writing lyrics, definitely Lou Reed. Martin Gore from Depeche Mode really got me into playing synthesizer because I thought he looked really cool, but it was really Bernard Sumner's work in New Order that got me into actually writing songs and composing music. As such, it's been really cool to work with Bernard on my new album, Fear City, as well as play some shows with New Order in the past few years.

What key pieces of gear/software are you using to define your sound?

I think that musical composition and songwriting are more important than the gear that you actually use, it's the human mind, not the machine, that writes the music. That being said, on the Fear City album I have used an arsenal of hardware synths, Dave Smith Prophet 5 and 12 for lead and chord pad parts, Roland Super Jupiter for leads, Roland Juno 106, Korg MS-2000 and MS-10, a few Eurorack Modular systems. For the synth bass parts, I used the Moog Voyager as well as the Moog Slim Phatty and the Novation Bass Station. I also used conventional guitar, bass guitar, and piano on some tracks. For drums, I used a combination of the Roland 808 and 909, as well as the Alesis SR-16. I prefer to use hardware instruments for playing and recording...the album recorded and mixed in Logic, and mastered in Pro-Tools. Bernard prefers recording in Cubase, so he recorded his parts on the tracks he worked on in Cubase.

Has your arsenal of equipment changed much since you first started?

Oh yes. When I started, I had a few cheap Yamaha synths, a cheap drum machine, and a digital hard track recorder. That was it, I recorded using only hardware because cheap, old hardware was all I could afford. I would play really fast sequencer parts by hand because I didn't have a sequencer! Now, of course, I have a much wider range of older and newer hardware synths and drum machines and record in Logic, but I think I am still very focused on making sure the structure of the music itself is good before anything.

Which three albums or artists would you say have influenced your sound in a big way?

Patrick Cowley, Jamie Principle, New Order.

Any new or upcoming artists on your radar?

Jhene Aiko. I don't know if she is still considered new, but she's never really broken into the mainstream either,  and I really love her music. I am also really into a newer post-punk band from London called Formation. And there's a lot of cool techno and electronic stuff happening in NYC and Berlin right now.

What inspires you outside of music?

New York City! I've lived in New York for a long time, and the city itself is literally what inspires a lot of my music. I walk around NYC, looking at the city, the people, and I start to write music inside my head as I walk down the street. Obviously the sounds I hear in Brooklyn techno and house clubs also really influence my current sound...I've tried to take what I hear in the clubs and the raves and at after-hours parties and put that into my own music.

What do you want to accomplish with your music?

My ultimate goal as a composer/musician/songwriter/producer is to make a piece of music from one of my own experiences so that someone else can hear my music and perhaps it will help them get through a tough day. My way of dealing with feelings of hopelessness, sadness, depression, despair, and anger, is to write music about those experiences. I hope my music can help other people get through tough times and experiences. We are living in a very dark world after all.

What, in your opinion would be the perfect genre fusion?

Some sort of fusion of techno, synthwave, classical, disco, jazz, and symphonic soul.

What can we expect from you in the near future? Any upcoming projects or releases in the pipeline that you would like to tell us about?

My new album, FEAR CITY, will be out on April 30th. The first single from it, NO SECURITY, was released in January, followed by XXX in February. In March I released a collaboration between myself and Bernard Sumner of New Order/Joy Division, FORCE. On April 15th, another collaboration between Bernard and I, FEAR CITY (the title track of the album), will be released.

Famous last words?

Be proud of who you are, you'll never be anyone else. Enjoy yourself!

Follow Zachery Allan Starkey online 
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Monday, 16 March 2020

Synthwave artist Colour Theory releases new A-side song


Solo-act and synthwave musician Color Theory has released his A-side track ‘This Whole Nothing’ via 11th Records. He has received praise by Youtube channels like  NewRetroWave, The '80s Guy, LuigiDonatello, and SoulSearchAndDestroy. To date, his music has been streamed close to three million times and counting. Brian Hazard (Color Theory) has also been a winner of the John Lennon Songwriting Contest. After the win, Brian’s music would be featured in games such as Just Dance and Rock Band. MTV’s The Real World included his music in one of their seasons. Other achievements include interviews for Vehlinggo, MusicTech, and Dope Cause We Said.

Brian was in his highschool jazz band, and would later graduate from college with a Bachelor of Music Degree in Piano Performance. Color theory finds inspiration for his underlying sound from bands such as Depeche Mode, The Cure, and Baths. He has mentioned previously that his style that he creates  would be classified as “melancholy synthwave”. His sound is reminiscent of acts like The Midnight, Kavinsky and Gunship.

Color Theory talks more on the release: “This Whole Nothing” is one of those songs that people will read into as they will. The lyrics are just vague enough to be universal. My inspiration was the spacious emptiness one experiences when the voice of the mind quiets and the world can be seen as it truly is.”





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Music producer Leifur James shares a second single ‘AAID’



London-based experimental producer and composer, Leifur James announces the stunning, audio-visual offering, ‘AAID’, the second single taken from James’ eagerly awaited album “Angel in Disguise” due for release on the 24th April 2020 via Night Time Stories (sister label to the coveted ‘LateNightTales’).

Peppered with broken beats and disorientated pads, ‘AAID’, is a journey through broken memories. James’ own wistful vocals and ticking percussion give a sense of ruminating, travelling backwards in time. A hypnotic track married with an experimental, 3D video, ‘AAID’ traverses the nostalgic echoes of a splintered relationship, told by a series of intertwining memory scenes, directed and produced by Balázs Simon & Dávid Dell’Edera.

An aesthetically driven artist dedicated to marrying powerful visual backdrops with sonic explorations, this is the second time James has teamed up with Hungarian director, Balázs Simon; previously producing the critically acclaimed, ‘Wurlitzer’ project which saw widespread support from the likes of Boiler Room, CLASH, Motionographer, the UK and Berlin Music Video Awards, the London Short Film Festival, Dublin International Film Festival and more.  The first of two incredible videos for 'Angel in Disguise’, Dávid Dell’Edera, (Annecy International Animated Film Festival Winner 2016) joins the creative powerhouse for ‘AAID’. His inimitable eye for animation brings a whole new dimension to the captivating worlds James and Simon create.

An electronically steered opus, “Angel In Disguise” promises a masterful blend of harmonic vocals from James himself, nuanced electronic soundscapes and vibrant modular-based percussion, punctuated by bespoke visuals directed by Balázs Simon. This exciting project is expected to make waves and see James step up, exhibiting his discerning ear and painstakingly honed production craft on a seminal label.

Delving into the intimate UK and European venues to showcase his ever-evolving live show, James’ tour will kick off May 2020 in Copenhagen, before heading to Berlin, Amsterdam, Brussels, London and Manchester.


Follow Leifur James online 
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Q&A with synth-wave music producer LukHash



Edinburgh, UK-based British electronic music composer LukHash is known best for creating a fusion of many different music styles and genres.

His unique approach to electronic music weaves the hallmark features of several genres together with a nostalgic return to the musical motifs of the ‘80s to create something entirely new.

See our exclusive interview with him below:


Looking back, what were some of your earliest entries into music appreciation? And music production?

My entrance into the world of music began with the piano in elementary school at the age of four. At the age of six, I started professional music education at Public School of Music in Wroclaw, Poland and it carried on until the age of 19. I've started my solo project 'LukHash' shortly after.

What inspired you to start making the electronic music that you are now?

'LukHash' was initially just a side project to the various rock and metal bands I was part of as a teenager. At that time, it was a purely heavy rock type of music, however as the years passed, I started adding electronics. Around 2005 I decided to buy a Commodore 64 computer, the same as one I owned as a kid. I always loved its sound chip so thought it may be worth trying to incorporate the sounds I grew up with into my songs. Shortly after I also started experimenting with Nintendo Gameboy in search of creating something entirely new. Various pieces of 8-bit technology were certainly my biggest inspiration. As the years passed my musical taste moved towards the purely electronic sound. A more recent lean towards synthwave was sort of a natural progression. I always try to balance on the spectrum of a few different genres as I enjoy that the most.

What key pieces of gear/software are you using to define your sound?

I started my journey with an old school Cool Edit Pro and then moved onto FL Studio in its early days. I still use FL Studio today along with its plugins. I also own a number of VSTs as well as some original 80s computers modified into musical instruments. I guess what defines my music more than anything is heavy usage of video game-related sounds, especially the ones of C64.

Has your arsenal of equipment changed much since you first started?

Definitely! I started this project purely with electric guitar and drum samples. My gear changed a lot since, including new VSTs. I learn music production as I go along and try many different things to come up with something new and interesting for each album. This also means I find new software or hardware as a bi-product of my research.

Which three albums or artists would you say have influenced your sound in a big way?

A lot of influences come from various artists of the 80s computer game music, but looking at the artists outside that scene my biggest inspiration has always been Muse, Korn, Queen, No Doubt.

If I had to pick 3 albums I’d go for:

Muse - Origin of Symmetry
Daft Punk - Discovery
Korn - Issues

I have many albums I always like coming back to and which in some ways influenced my sound, but one thing in common is these generally sit outside the type of music I create. The ones I really dig from the synth scene are albums produced by Carpenter Brut.

Any new or upcoming artists on your radar?

My fellow polish producer Konrad Celiński. I discovered him some time ago when compiling my Spotify synth playlists and was stunned to see only 5 followers on his account at that time. He produces some top quality stuff and I think he's one of the most underrated artists in the retrowave scene.

What inspires you outside of music?

Life events and emotions. Right from the beginning of this project. Over the last few years, inspiration became even stronger as I was going through a loss of someone very close and special. Since then the focus and energy I put into music production are even more powerful. This is what currently keeps me going and provides me with a true sense of accomplishment.

What do you want to accomplish with your music?

Music-making provides me with a peaceful break from everyday challenges. I would like to keep enjoying it because at the end of the day this is what it's all about. In addition, if I can make an impact on at least one other person's life, then it makes it even more rewarding. I would also like to continuously experiment by mixing different genres and styles.

What, in your opinion, would be the perfect genre fusion?

Classical orchestra music fused with synth, video game music influences and perhaps all the above combined with a bit of funk :)

What can we expect from you in the near future? Any upcoming projects or releases in the pipeline that you would like to tell us about?

My latest album has just been released. Nothing in the pipeline at the moment and my full focus is on a family. I'm probably going to be making music in some shape or form soon because it keeps me sharp.

Famous last words?

Live and let live.


Follow LukHash online 
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Thursday, 12 March 2020

DEADLIFE releases song ‘Downpour’ off of upcoming album


For the past few years synthwave composer DEADLIFE has been making waves with his debut album Bionic Chrysalis winning the title of Best Synthwave Album 2017 by MetalSucks, and his album Singularity being voted as  best Dark Synth Album 2019 by Retrowave Touch. DEADLIFE has been featured in several publications including Bloody Disgusting, Metal Suck, and Iron Skillet. His music has been featured on the acclaimed Youtube channel NewRetroWave, which has seen his stream rate rise to 3.2 million plays. In the works is his album City of Eternal Rain, which is due for release in April. In the meantime, you can stream his latest track ‘Downpour’ off of the upcoming album.

Raised in the Crewe area in the UK, DEADLIFE preferred to be indoors playing his video games. He developed a deep appreciation for the soundtracks of these games, and would later develop this appreciation into his own music production. The artist is known to have an emotionally aware side and wild imagination, and he believes that music is the perfect medium to express and pour out all of his feelings into. Before immersing himself into synthwave music production, DEADLIFE was a drummer in a band, but due to creative challenges, he left the band life behind.

Speaking about his new song ‘Downpour’, DEADLIFE tells us “When it rains, it pours. Sometimes a lot of bad things happen all at once, we just have to weather the storm. But with that comes renewed passion and determination. For me, I don't get sad I get angry. If something pushes you, you push back harder. You stand your ground, you know? You become the raging storm. Otherwise the world will eat you alive. The name comes from these emotions, and also it rains almost constantly here. It’s hard not to be inspired by the overcast skies, worn down industry, and constant downpours that pepper this city.”








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Wednesday, 11 March 2020

Music producer Mild Minds released a new song ‘WALLS’



Australian artist Mild Minds has unveiled the official video for his latest single ‘WALLS’, directed by New York-based filmmaker Colin Read (Radiohead, Battles, Danny Brown), out now. The track, which also includes vocalist BOATS, will feature on Mild Minds’ highly anticipated debut album “MOOD”, out 13th March.

Sensitively capturing the poignancy and high emotions of the single, the official video for ‘WALLS’ paints the picture of a father and daughter who are struggling to adapt to life on the streets. “All of us were very impressed by Alberto and Ana—the real father and daughter acting pair. They brought real intimacy and feeling to the quiet story,” says Read.

“It’s always special when you can use music videos to tell a very human story”, he continues. “So I loved the opportunity to create a narrative about migration, displacement, and family separation—which are topics very close to me and my family, and more important to talk about now than ever.”

“I liked the idea of using digital “walls” to stitch together the little moments into one continuous, scrolling journey. We used the alleyways to keep the story feeling very linear, as if the father and daughter had to always keep moving forward. The visual technique let us show a story without words in a fresh way.”

First delving into directing with several full-length independent skateboarding films (including ‘Tengu: God of Mischief’ and ‘Spirit Quest’), Read’s work has been screened at venues including MoMA, The Hammer Museum, the Berlin Music Video Film Festival and Mimpi Film Fest.  He has directed music video pieces for the likes of Radiohead, Battles, Danny Brown, Converse and Viceland.

“The meaning behind ‘WALLS’ is somewhat dichotomous, we wanted the track to have a dual meaning depending on the listener,” Mild Minds previously mentioned. “BOATS wanted the message to be somewhat political, a nod to the issues happening at the American border, whilst I wanted to reference the more internal and interpersonal walls we build every day.”

BOATS added: “Walls have been built and those same walls have been brought down. It's important to remember that people's desire will always win out over overstate or forced control - if there is a significant will. I think a lot of people forget or simply don't respect the power of protest.”

MOOD marks the follow-up to ‘SWIM’, Mild Minds’ lauded maiden EP, which garnered over 2 million combined Spotify streams. The Australian is also fresh from playing a three-date North American mini-tour with Tycho, taking in sold old shows in Oakland, Santa Cruz and LA earlier this month.

The official video for ‘WALLS’ is a captivating, heartstring-tugging journey that leaves a lasting impression - an ideal visual representation of the track.



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Q&A with electronic music duo From Apes to Angels



London and Sheffield-based electronic and Synth wave music duo From Apes to Angels Perform their own brand of cinematic, ’80s-inspired synth-wave, the pair are releasing their debut LP, “Let The Light In”. The LP features collaborations with Irish synthpop star Femme-pop and the French synth-wavers Chronic.

“Let The Light In” will be released on March 30. It was mastered by Martin Smith (Richard Hawley, Groove Armada), with cover art by Claire Matthews.

See our exclusive interview with them below:


Looking back, what were some of your earliest entries into music appreciation? And music production?

The first thing that really kicked in was Nirvana, then a few years after that I was a metalhead, and over the years, as home music production has got easier, I appear to have gradually gone away from the guitars and on to the synths.

What inspired you to start making the electronic music that you are now?

I heard synthwave and I realised that there was a way of making huge, atmospheric music without requiring a band to do it. Life gets in the way when it comes to gigs, recording and rehearsals, so finding a way to do things as a duo and keep doing music you wanted to listen to was a revelation. Then Millie and I met over the internet and we wanted to make some kind of sound as each other.

What key pieces of gear/software are you using to define your sound?

Far more basic than you could possibly imagine. I use Logic, Reason, a few plug-ins and a beat-up MIDI keyboard to compose. I find it best not to over-complicate matters rather than have a disorientating array of synths.

Has your arsenal of equipment changed much since you first started?

As you can probably imagine from the above, very, very little. But I started on bass and guitar when I first started making music. And now it's on to the synths. Only one track on the LP has a guitar on it, so it's changed a lot in that sense.

Which three albums or artists would you say have influenced your sound in a big way?

Both of us would agree with Depeche Mode. And Chvrches and Purity Ring were obvious gateway bands into 21st century synthpop when we first started out

Any new or upcoming artists on your radar?

Some of them are already established within the synthwave scene itself, but there are plenty that deserve a wider audience. Certainly Femmepop and chroonicv, who both appear on our album. Also, check out Prizm, Vandal Moon, Honey Beard, Wolfclub, among many, many others. There's a lot out there to uncover when you start digging.

What inspires you outside of music?

I'd love to say something more rock 'n' roll, but peace and quiet. It's incredibly underrated, and only really appreciated when you don't have it.

What do you want to accomplish with your music?

We have no great expectations - we're just happy when people say we like our music and love it enough to invest in it. God, that's a hokey answer but true - it's pretty special in and of itself.

What, in your opinion would be the perfect genre fusion?

You had us up until the word "fusion". Most of the time that's when things start to go very wrong. Just the memory of funk-rock brings me out in hives.

What can we expect from you in the near future? Any upcoming projects or releases in the pipeline that you would like to tell us about?

A little time out, exploring things. But I can pretty much guarantee that From Apes to Angels will have a very different sound in the future. We'll still be working in synthwave and synths I expect, but it's a pretty broad genre. We've made more of a pop record here, and I think things may go a little darker next time.

Famous last words?

Oh bugger.

Follow From Apes to Angels online 
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