We get to hear the virtuoso side of your playing, but also your shredder roots. The guitar solos on this new EP are intense. The next logical thing to do is just share it with everyone."ĭuring a recent conversation, he explained to UCR how the new music took shape. "When you collaborate with somebody, you make something of consequence. "It would be selfish of me to just think, you know, I could sit on this and just play it for people when I feel like it," he explains. In Hammett's view, it would be a "crime" for fans not to get a chance to hear the music. It’s obvious now," was his thought at the time. "Shit, okay we’ve got to put this stuff out. He never saw himself recording as a solo artist, but things reached a point where Hammett knew he had something he couldn't keep under wraps. As Portals took shape, Hammett knew that Outwater was a natural for the project. They bonded over their love of all things horror-related, staying in touch. Hammett enlisted a variety of musicians and collaborators – most notably conductor Edwin Outwater, who had previously worked with Metallica on S&M II. He says the music has an "audio-cinematic" approach, one that is meant to create "soundtracks movies in your mind." The title of Portals is deliberate, as Hammett sees each of the four pieces as gateways to myriad musical and psychic destinations. "Twice already!"īy then, he knew he was on a certain path. "Fuckin' hell, it happened again," Hammett adds, with a laugh.
A second attempt, which became "The Jinn," produced the same results. The retro synth scene has never really found a tag that has stuck, but I don’t think they care, but if there isn t a name that expresses the scene as a whole, then at least there is an album, ‘Turbulence’ is the archetypal SynthWave album, it just sums up everything about retro, soundtrack influenced, synth music now, and where it s headed in the future.As he listened to "Maiden and the Monster," the nearly seven-minute epic that kicks off Portals, Hammett realized that "this has already become something so much more than its original intention," as he tells UCR.
The Germans call it SynthWave, The Rosso Corsa crew have always called it Outrun, In LA they invented Dreamwave just to be able to call it something.
Miami nights 1984 early summer songs tv#
For me, the album centrepiece, ‘New Tomorrow’ sums up what ‘Turbulence’ is doing, it’s an evocative, rich peice in the place where Italo and ‘80’s electronic TV music meet. Where this album differs from the SynthWave classic ‘Early Summer’ is the injection of late 80’s, early’90’s dance music influences in the form of FM post-House basslines and orchestral hits on tracks like ‘Streets Of Fire’, we’ve made no apologies in the past about being orchestral hit lovers ,so this new facet of Miami Nights 1984 is definitely welcome. Then there’s the quitter, more atmospheric peices, such as ‘Astral Projection’. You’ve got your big power driving tracks like ‘Ocean Drive’ and ‘ Phone Tag‘ that truly exemplify Outrun Electro, there are ‘get in the car and drive into the night’ tunes. It would be hard to pick standout tracks amongst the 12 that make up ‘Turbulence’ as they are all stormers, and there’s a variety of moods contained within. This is the ‘80’s repacked to rock both modern dancefloors and modern minds. Robotic Italo grooves layered with lush emotional, synths, tracks that tell a story and take you along on that narrative and soaring synth solos that take tracks stratospheric. The albums first track proper, ‘Clutch’ is the prefect opener, and the perfect signpost for what to expect within the rest of the record. Titled ‘Turbulence’ this is one release that has been eagerly, eagerly, awaited around electronic rumors towers and from the intro peice of ‘MN84 theme’ onward it doesn’t disappoint. In the early hours of the morning, when the only folk out and about were the nighthawks and the freaks, SynthWave legend Miami Nights 1984 released his sophomore album, his follow up to 2010’s ‘Early Summer’ on Rosso Corsa Records.
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