Everything has been going eighties for a few years now. First, there was Stranger Things, then acid wash, what’s next the piano tie? This record is one step closer to that reality, but it’s a beaut.
There’s a lot to enjoy here. Its got tonnes and tonnes of those synths your mum liked back in her hair-crimped Goth faze. Plenty of those electronic thuds that pump, you know the ones that almost literally sound like “t” sound? Oh and that gated reverb drum sound synonymous with the decades biggest and best anthems.
Whoo wee mama I’m glad this stuff is back. Even though I wasn’t alive in the eighties I’m still nostalgic for it like I’m a retired Wall Street banker or something. For an era full of Columbian it’s ironic that most of its best creations are highly addictive to consume…
The album is literally the equivalent of mixing everything in GTA Vice City, with a Lamborghini Countach in white, futuristic-retro sunglasses, neon anything and everything, and shoulder pads, but in a deprecating way of course, this is post-punk-pop after all…
Although the record has got the excess of the eighties’ dream-like soundscapes, it’s not hollow by any means. In fact, there is definite darkness here. I half expected a dad-bod era Nicholas Cage to smile at me like he does in the synthful and sinful Mandy. But, this is exactly how I like it, half groovy, half scary, but most importantly total fun.
Haiku Review
Misplaced nostalgia,
A dark and neon contrast,
Just keep smiling on,
