In a parallel universe of 1995, the world is different from ours. In the 80’s, Roland abandons plans for TR-808 and instead produces “TR-707 Saturn”, the next generation drum machine which has a huge impact on music. An unknown Kurt Cobain commits suicide in 1988. Japan successfully counters it’s economical turmoil in the late 80’s and by 95’ it is the world’s greatest economical power, while Japanese are widely spoken in the developed capitalist world. Most of the 80’s pop culture is still ongoing by 95’, along with the accelerated Internet explosion into the mainstream. New music styles such as Synthpop, Outrun, Vaporwave and Synthwave are born. This is an alternate 1995. It is the future that never was… The future that will never be… A future that exists only in dreams caught on VHS!

In the beginning, all relationships are based on attraction and a storyline of the heart. And love beats the same for everyone when you are lucky enough to get it right.

New act Video Video relies on the well-known narrative of melodic vocal pop songs that were first written in their relative acts The Blow Waves and The Mavis’s.

The rebirth here was formed when The Blow Waves’ core couple Matt Doll Thomas and Byron St John started a duo playing alongside Matthew Sigley to form a smaller lineup that became titled Video Video.

Planet of Storms their debut album is about how the heart can survive the weather of a lifetime of love songs and past relationships.

Video Video write to old flames and those lovers they have left behind on their journey, as a way of keeping them in the story—and warning their audience that they are not forgotten.

As dream believers of magic and romance Video Video use 1980s electro dance to style their own moustache club pop. Uniquely island Australian, with the energy of teen millennium Video Video’s Planet of Storms is an easy listening indy-pop release.

Midnight Driver is an Electronic artist committed to bring back the 80’s coolness to modern music. He is also the founder of Future 80’s Records, a top synthwave label.

Tｈｅ ｔｉｔｌｅ ｏｆ ｔｈｉｓ ｅｐ ｉｓ ｅｘａｃｔｌｙ ｗｈａｔ ｙｏｕ ｃａｎ ｅｘｐｅｃｔ: ｅｎｅｒｇｅｔｉｃ, ｆａｓｔ ｂｅａｔｓ ａｎｄ ｈｏｏｋｓ ａｌｏｎｇ ｗｉｔｈ ｈｉ-ｎｒｇ ａｌｌ ｔｈｅ ｗａｙ!

DiscoUnchained.Blogspot.com - “We recently came across Midnight Driver, an Electro-Synth artist from Bucharest, Romania, and we really liked his sound. We were able to get a glimpse of retro-wave genius through his latest single “Disco Dreams”. The artist has kept his focus on recreating 80’s stereo Synth-Wave music, which sounds very authentic. Disco Dreams is bound to be an instant classic amongst all 80’s inspired synth-wave fans.”

In the year 2019 in a parallel universe countries no longer exist. The world is run by the Consortium. You are not a citizen. You are an employee. You are a number. The Towers of the corporations rise above the constant layer of smog that envelop the Megacities. Executives and those who afford to inhabit the top floors may get a glimpse of the sun every now and then.

Synthetix.fm - “..When it comes to some of the most authentic 80s inspired synth music Eastern Europe always seems to be at the top of the heap and the most genuinely in love with sounds of this particular era. With the new release from Block 35 this theory is reinforced as this Romanian producer captures the spirit, energy and emotion of the 80s in his new album Central Control….”

VHS Dreams revisits his parallel universe with his first LP. “TRANS AM” is a retro-inspired dance music galore. Modern House and EDM productions are adorned by a hefty dose of 1980’s elements, and the result is a crafty tribute to the early days of Trance and 90’s club subculture and to the excessive glory that was the 1980’s. The album marks a surprising yet most welcoming turn from the style we were introduced to in VHS Dreams’ first EP. “TRANS AM” brings the new to the old and vice versa. Tracks like “R.E.D.M” will blast your speakers with a pulsating bass, “Miami 2K15” is a pure House festival track to dance to in a hot summer day and “Trans A.M.” will warp you through time to an underground Trance party circa 1992. Hardcore fans of the typical retro-wave style won’t be disappointed, with tracks like “Highway Lovers”, “Nightdrive”, and “Ocean Heights” remaining faithful to the updated 1980’s sound that defines VHS Dreams. Whether you’re a club goer, an 80’s enthusiast or simply love a unique approach in music “TRANS AM” will be your dance soundtrack of the year.

“This album is a tribute to the early days of Trance, distant summertimes and highway lovers. Special thanks to: Alpharisc and Satori in Bed for contributing to this album, it was great working with you. Friends and family who still support me in my career, thank you for the memories that inspire me. Last but not least, a big thank you to my fans and everyone who supports me in every way and made this album possible. Without you nothing would be possible. May we continue this musical journey together.” ~VHS Dreams

Synthetix.Fm - “Cluster Buster is rockin 2014 with his fantastic ode to the exploitation classic Maniac. Surprisingly, however, this is not a dark synth dirge but is instead a thoughtful exploration of the humanity behind the monstrosity.”

Z6B3R is an electronic music producer from Centurion, South Africa, Telstar 12 is Z6B3R’s debut EP with four tracks influenced by Space, Sci-Fi and 80’s synths. His favourite artists are Miami Nights 1984, Dance with the Dead, Absolute Valentine and Pertubator.

Synthetix.fm - “After settling in for the night with the lights low, the winds howling and the atmosphere primed; I give Ron Cannon’s ‘Blue Light Murder’ a spin and take a ride back to the early 80s, making a detour via Camp Crystal Lake and Elm Street, with sightseeing narration by John Carpenter. Blue Light’s greatest feature and most immediately noticeable is its authenticity, both in its efficient minimalism and sparse, haunting soundscapes.

‘Opening’ sets a dark scene of street lights and deserted neighbourhoods, slow and methodical synths pulse calmly as the sounds build, thicken and layer into a collection of textures that Cannon stays true to throughout the album. The textures vary from the pleasantly familiar pulsing basslines that are a staple of the synthwave genre, to analogue insanity as Cannon’s abstract scary moments grind and scream out of what sounds like authentic hardware.

Cannon sticks to his guns as the album moves on, effectively scoring a horror movie that was too dark to ever see the light of release. This is where the release shines above others in its field; it has a goal, it has a concept, and it rigidly sticks to it. It makes for a few predictable moments toward the end of the album.

‘Back There’ and ‘Future Kill’ land exactly where a viewer would expect the pace to heighten in a horror movie of this era. But where Cannon knows to let his chase scenes come in, he knows how to throw a curve ball in and catch us unawares with ‘Back There’ moving into a beautiful synthscape that fits right in with the rest of the album, but stands out, showing that Cannon is a man that could score for other films cooked up in his imagination outside of the horror arena.

Ron unapologetically takes his time with his slower, more brooding tracks. ‘The Lonely’ is a great gear shift into something much more delicate and although it clocks in at just under 2 minutes, compliments a scene that’d give its characters a chance to catch their breaths. ‘Last Exit’ brings the album near to the end as frantic breathing holds the pace of the track as the now-familiar synth patterns swirl and dance around it.

Cannon knows his stuff, that much is obvious, as he effortlessly picks apart soundtrack elements from Friday The 13th and The Fog, and makes them his own. ‘Unsafe’ feels like the single of the album, something that wouldn’t suffer from having vocals added to it, but doesn’t feel lacking in any way. The album closes much as it began with ‘Midnight’, which as I mentioned earlier is where Ron Cannon has excelled; by sticking to his palette and remaining consistent.”

Python Blue is the alias of an American musician of rapidly-growing talent yet nostalgic thoughts. Instead of typical soundtrack-style musicians, who combine a Hans-Zimmer orchestra with electric guitars, industrial synths and the like, Python Blue is dedicated to the synth-pop sound of the past.

A combination of ’80s synthwave and dark soundtracks, with an overall post-apocalyptic mood the album “A Dark Future” lives up by it’s name.