I mentioned in my previous post about Hotline Miami and its importance to the development of Synthwave but strangely, this did not immediately get me into Synthwave and even after the arrival of the anticipated sequel, Hotline Miami 2: Wrong Number, it did not hit me immediately, even if I did love the sequel.
To put it simply, it is less iconic than the first but still remains as a solid sequel on its own, taking place after the arrest of Jacket and focuses on other characters, whose lives are unknowingly tied to Jacket as their stories are related to his legacy… or Infamy in this case. The soundtrack features a very diverse cast of artists, more tracks and even more Synthwave tracks along with unexpected artists joining in the fray. Heck, one of the tracks even came from Cryo Chamber, a label that I talked about previously that releases dark ambient tracks! That being said, the soundtrack still emulates the energy and music of the 90s and brings tracks from other powerhouses such as Carpenter Brut (Whose music is featured in the Hotline Miami 2 trailer) and another familiar face, Perturbator. It took a while for me to be curious about some of the artists before my curiosity got the better of me. What I never expected was a musician who ends up being the modern pioneer of Darksynth music and keep in mind, I had no idea of their identities, albums or anything else they have done prior.
This became the first album that introduced me to Darksynth completely. Yes, technically Hotline Miami is the first album to actually introduce me to the sub-genre of Darksynth but an entire album where almost every track feels like a violent encounter in the sinister corners of a vibrant yet corrupted cyberpunk city? That’s where Dangerous Days comes in. Now, there might be something that you suspect about the transition of my music tastes that makes little sense. Yes, it did have a transition from Dark Ambient to… Synthwave and Darksynth. While I did mention beforehand that people’s taste in music tend to change, that is only part of the story. So let’s wind back the clock to around 2014, when I was around 18 years old.
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That period of time was still considered a darker period of my life but in a different way. I was in a constant low mood, struggling in polytechnic (Or vocational school as some may call it) as I attempt to find my footing in the school. I was suddenly thrown into a completely different domain of traditional and modern art or more specifically, I studying art for video games. I always felt far behind as my batch was generally surrounded by people who are either familiar with the craft or are talented with it. I always wrestled against myself when it came to practising what I learnt as the idea of perfection and the fear of being the worst in class combined to become my worst nightmares. I already suffer from depression at the time, something that was unbeknownst to me until things spiralled way out of control. That inability to not be able to do anything frustrated me so much that it was welling up within me. That angry side of me fell in love with the intense and brutal atmosphere, which became a motivating factor for me to work, albeit unhealthy but it was better than nothing and the genre helped me to keep that fuel running, especially during desperate times.
Before I talk about the album in detail, let me give you a run down of the man behind Perturbator.
James Kent is a French musician who is known for the works of Perturbator, who started his music journey initially as a guitarist in several black metal bands until 2012, where he started to make more music that is more electronic and inspired from older movies with cyberpunk roots, such as Akira and Ghost in the Shell, both important movies that would still inspire and influence cyberpunk genres to this day. His first album would be an EP titled “Midnight Driving Avenger” before going on to release 4 other full length albums as well as a second EP. This is excluding Perturbator’s recent announcement of a new album next year. Perturbator passed his time well as he gained popularity for his project not just from Hotline Miami but for his ability to innovate his music to feel both fresh and familiar, garnering more fans and even went on tours. I was lucky enough to attend his concert while I was still studying in Canada and the experience was absolutely amazing.
Dangerous Days is the third full length album that combines both retro synthesizer sounds with fast paced beats, darker and aggressive tones to create an album that is rooted in both retro and darker sounds. Each track stands out from each other differently which helps to keep Dangerous Days both entertaining and refreshing. These tracks also interlink between one another, creating a story and atmosphere unique to its own when listened to as a whole yet flexible enough to do its own storytelling on its own.
Usually, I would talk about individual albums but these ones come hand in hand like twins and it is hard to not talk about one of them without the other. “Welcome Back” starts us off with a electronically menacing atmosphere, conjured with a series of low key synth tones that gives the vibes of the older cyberpunk films while accompanied with the high keys of other synth tunes, giving the track an interesting contrast that builds itself up as well as the atmosphere. I would pretend that I am lingering in the underbelly of the city, constantly checking the surroundings for anything suspicious while walking through the cold and metallic walls that seem to go on forever until the music seems to hit a climax. This is where it passes the baton to the second track, “Perturbator’s Theme”. The second track opens the track on a pretty high note with the synth melodies and beats combining together to create a high energy opening that also gives way to paint a sinister tone to the track at times. The track name always feels like it is a theme song to a TV or movie, especially with the way the track is structured.
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“Raw Power” is one of the best examples when I mentioned that the album combines retro synth and darker tones into the album. The darker synths almost emulate the sound effects that people hear in those over the top, high voltage sci-fi experiments in the lab and I thought it is interesting to say what some of the effects are similar to because it potentially sets the scene for a track. The melody comprises of low key synths that paints a scene in an isolated lab along with the theme of producing a drone desperately. The track is well maintained with the sound effects that becomes part of the accompaniment for the melody. The sudden shift to its more retro side also took me by surprise during my first listen. The jingle at the end turns the track into a slightly playful and nostalgic music, the more 8-bit sounds being reminiscent of the older arcade games before the track ends quickly, which helps to add its texture into the track without overstaying its welcome.
While Dangerous Days is filled with many violent and menacing synth tracks, there are other tender tracks that help to redirect the story while pacing the album. “Hard Wired” comes across as a affectionate track that features Isabella Goloversic, a singer from Memory Ghost. The synths here loses their fangs to accommodate her gentle yet haunting voice, making her performance stand out while Perturbator builds a neon lit city in the night. I always felt that this track is suited for night cruises alone, especially with the beats, synths, tempo and its tender aspects that goes along with the ride. It is a needed change for pacing as well before diving back into the gritty and heavy atmosphere of the album.
Among fans, I do think one of the tracks that stand out would be “Humans Are Such Easy Prey”, seeing as fans went really wild the moment Perturbator played this while I was there in Canada. This track also samples one of the iconic lines from Terminator, a scene where Kyle warns Sarah Connor about the Terminator and its relentlessness, sharpening its claws before sinking into the flesh of the even darker synths as they drone on for a bit to create an intense and deadly encounter of a showdown. Something else that the fans love so much with this track is the breakdown of the track towards the end. The tempo increases rapidly and some of the synths even go into a higher pitch, to the point that it is almost out of control and burning out, like a desperate suicidal charge to finish things off.
Speaking of showdowns, there is another track worthy of mention as it brings another powerhouse into the album. Carpenter Brut has his own popularity in the darksynth community and to see him being featured in an album is almost like watching two titans crafting an epic project together. “Complete Domination” is that epic project that came to fruition, a track that combines both of their styles of darksynth music to become a formidable foe worthy of strength and speed. The rhythm is one of the fastest in this track, building a scenario that fights against both cyborgs and time itself. Carpenter Brut’s style is heard in the backstage of this track, allowing Perturbator to construct a series of melodies that serves as a deadly and hasty rush. An epic finale is heard almost at the end as the music goes into a high tension moment that amplifies its synths onto a more dramatic and climatic moment, another signature of Carpenter Brut’s handicraft while Perturbator delivers the finishing blow, sealing the final battle with a high energy performance.
Perturbator’s “Dangerous Days” is a special album for me. It brought me into a genre that I was already curious about and gave me help during my struggles back then but even after detaching my personal bias to this album, its place still never changes. The album draws a lot of people into its own world and events, something that I enjoyed thoroughly as it is obvious that it is not just crafted with making something catchy in mind but rather, it is crafted with more thought and design, similar to how people would build an environment for a universe or story. I still find myself enjoying and reliving events set in Dangerous Days every now and then, a sign that despite its age, it still remains as a big part of me as well as the entirety of the Synthwave community.
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Recommended for: People who are interested in Darksynth/ who like to immerse themselves in a cyberpunk universe/ like the sounds of the 80s with a darker twist
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Favourite Tracks:
1. Welcome Back
2. Perturbator’s Theme
3. Raw Power
4. Future Club
6. Hard Wired
8. Humans Are Such Easy Pray
9. Minuit
10. Satanic Rites
11. Complete Domination
12. Last Kiss