After four days of rest, time to get back with the best synthesized sounds recently released in songs. This track has superb bass lines, combined by long synth pads and other synth layers, such as sequencers. All of this, topped by vocals inspired by Sade. Another interesting part of this song is the creative use of rhythms that don’t limit to the usual kick, hats, claps and snares, exploring more wooden type of percussion, with an added reverberation as a “spice”.
In total 7 minutes of another great original sound that is worth being shared by this blog.
Diamond Mine is the fifth single from Canada Hollowlove, released 26th April. The track originally had 3:40 minutes, as a single, and received this special full length/extended version. It is available for streaming in Spotify, Bandcamp and Soundcloud (as embedded).
Hollowlove is an electropop project from Keith Gillard and Ryan Slemko of Fidgital. The track was mastered by Brian Hazard at Resonance Mastering.
Diamond Mine will be featured in the next update of our blog’s dedicated Spotify playlist Synths of Eden. So make sure you follow it meanwhile.
Celebrating more than a 1000 streams in Spotify, Capiroto Records is offering a hundred codes to download Capiroto Amado in Bandcamp.
Actually part of “My Music” page in this blog. Capiroto Amado is so far my favourite track from all those crap I produced this year, a mix of synthpop with post-punk featuring the classic sub-urban “carro da pamonha” seller, shouting for people to check their delicious pamonha from the pure cream of green corn. The track goes a bit beyond the synthpop/synthwave vibe from my earlier Up Side Down release, with more aggressive mixing/mastering and use of noisy analog synthsizers. To celebrate more than a 1000 streams in Spotify I just created a 100 codes to download the track in Bandcamp, as embedded. You can click hereto check all the codes.
We are glad to feature MENTA with their track So, the first presence of Greece in this blog. From Athens, MENTA has been playing sice 2000, which means 18 years doing music. Polyend comes as their seventh album. There are several influences in their music, the most notorious for me is synthpop/synthwave. The track is instrumental, recorded by analogue synthesizers.
In total, Polyend has 8 tracks, being So the second of them, also released in a video. 5 minutes of totally funky synthesizers. Lovely sawtooth waves in the beginning followed by arpeggios. Rhythms are superb.
MENTA was formed in the late 90s by three members, Nikos Papadimitriou on vocals and bass, Kostas Vlahas on guitar and vocals and Panos Galanis on drums. The following year, Dimitris Lainas joins the band on keyboards and vocals.
This is classic electronic music from the 70s, it is just extraordinary. I’d say it’s greater than many things being produced nowadays with so much technology available. Cybotron’s debut album from 1976 deserves to be classified as a synthpop legend. The band was formed in Melbourne 1975 by Steve Maxwell Von Braund on synthesizers, electronic percussion, and alto saxophone; and Geoff Green on keyboard, organ, and synthesizer. The group released three studio albums, Cybotron (1976), Colossus (1978) and Implosion (1980), disbanding after that in 1981.
Today a new update has been made to this blog’s playlist ‘Synths of Eden’. Make sure to check our newest curation featuring new artists such as Cosmo Cocktail (synthwave), General Procedures (indie-electronica) and FYEO (indie-electronica).
Debut single from FYEO, duo based in Stockholm and New York. By Viktor Balkewitsch Persson and Jenny Björkqvist. According to them, the song is based on the feeling that there is something holding you back to the past at the exact moment when you achieve something you wished for in life. This is a very sensitive song, which that reminds other Swedish artists such as Little Dragon. It is a single worth listening to, especially for those who like electronic indie-synthpop.
The album Automat produced in 1977 and released in 1978 by italian duo Romano Musumarra and Claudio Gizzi, aka Automat. Released by EMI Italia. What is more curious about this album is that all the sounds in the album were produced using an MCS70, a synthesizer that was only one time produced. Automat is recognised for having played this synthesizer and produced the album with the same name.
The MCS70 was a monophonic synthesizer designed, built and programmed by Italian engineer Mario Maggi. Automat was Mussumara’s initiative , after learning about the instrument and proposing it to EMI Italia, through Harvest Records. Claudio Gizzi was added to the project from EMI, for being a more experienced composer. Side A is attributed to Claudio and side B to Romano. SIde A sounds more ambient, side B sounds more epic and dancing. In total there are 6 tracks with around 5 minutes each. In total they had only 4 weeks in the studio, being the last track, Mecadence, incomplete.
Both composers used the 64 presets in the synthesizer, provided by Mario Maggi himself. The only requirement is that only the MCS70 was used to create the album. Though a total failure by the time it was released, that didn’t leave both composers satisfied, the album is nowadays well respected by critics. Jean Michel Jarre was the first one to get a copy of the album. While Automat was being produced, Jarre released his Oxygene, album.