Wave // Breaker – Big Lich

It would seem that, when it comes to discussing it as a music genre, a lot of different people have just as many if not even more varying criteria as to what exactly constitutes synthwave. For some it’s all about retaining that sound from the 1980’s, while to others it’s all about the synths be they hardware or software, but at the heart of it all is one simple fact: it’s inherently electronic in origin. That said, synthwave tends to not only at times sound like other electronic music genres but melds well with them too at other times as a result. Perhaps there’s been no better example of this than the ways in which chiptunes have influenced synthwave, and vice versa, although to really crank them up it never hurts to add a little metal into the mix. This trinity of sound has therefore produced what has become known as electro death and one of its emerging torchbearers is Big Lich.

Wave // Breaker – The G

The G, an “LA guy in Singapore,” burst onto the scene this year with his debut album Postcards from LA which the man himself describes as “a love letter to the California coast. I made it while I was preparing to leave, and wanted to express my feelings for the stretch of coast from Santa Monica to Santa Barbara—which has so much romance for me. It’s a deeply nostalgic record, which to me conveys warmth with maybe a touch of sadness.” His sophomore release, Cosmopolis, is very much attuned in the same way as it’s been touted as a “retro-futuristic road trip” since its release. “It’s still road music” The G declared. “So in that sense it is similar to Postcards. But it’s about the future, with all its promise and foreboding, and it’s about the romance of looking up to the stars and wondering what’s out there.” The G went on to elaborate, explaining that “I think it has a lot more emotional range than Postcards. So much synthwave is emotionally monotonic—like, “summer, summer, summer” or “dark, dark, dark.” Cosmopolis is a bit of both. There are upbeat songs, like “Arcology” or “Reunited,” and moody ones, like “Shadows in the Neon Rain” or “Stars That Fade.” I’m not always in the same mood, so why should my music be? I’d rather take listeners on a journey. A lot of my favorite albums take that approach, like 88:88.”