Dark synth: dark synthetic revived the eighties
2010’s can rightly be called the decade of nostalgia for the eighties. And nostalgia is not for discos, but for deeper signs of age — by culture, attitude, naivete, understanding, and a feeling of impending future, and another fear of that future.
Today, the future has already come and turned out to be quite different from what was imagined thirty years ago. On the one hand it is good, and on the other — sad. Machines still do not fly, the galaxy is not inhabited, and artificial intelligence is not so intelligent. Modern “new sincerity” turned out to be more synthetic than synthetic postmodernism of the late twentieth century: the world is ruled by Finance, terror, wars, cataclysms and politics. This is not the end of the story dreamed of a progressive generation of the eighties, under the impression of the spread of the Internet, the development of technology and digitalization of art.
Caught in this cognitive dissonance, modern culture has made a desperate attempt to translate outdated ideas about the future into reality. So we, bypassing the primitive plots of zero, and found ourselves in a retrofuturistic world of revived popularity of comics (Marvel and DC), reboots and sequels of classic movies and TV series (“twin Peaks”, “x-Files”, “Halloween”, “blade Runner”), wildly successful stylizations (“Drive”, “Very strange things”, “spell”, “Each his”) and games (“Hotline Miami”, “Far Cry 3: Blood Dragon”, “Furi”, “the last night”).
Nostalgia for the eighties touched not only games and movies, but also music, the brightest representative of which was the genre of synthetic wave (or retroveyv), created in the middle of the zero on the basis of outran, Synthpop, new wave, darkwave and chiptune. The popularity of synthwave began to grow in 2011, when the film “Drive”, containing the track “Nightcall” from Kavinsky, and by 2017 reached a huge spread along with the General popularization of retro. In the CIS countries, retrouve gave rise to an interesting subgenre sovietwave, referring to the idealistic notions of the Soviet Union.
To recreate the atmosphere of the eighties, representatives of synthwave use compression and reverberation when recording music, vintage analog synthesizers and drum machines, or their emulators, publish albums and EP on audio cassettes, draw characteristic covers for releases and come up with concepts that exploit clichés of films and video games, often even surpassing them in sophistication. Some musicians add to the audio effect sucked magnetic film and shoot videos with shestnadtsatiletnej graphics. In short, the synthwave sounds as if the eighties continued to this day.
The bright offshoot of sinawava is a subgenre darksend (or horrorist), inspired by the soundtracks of classic horror films, slasher and cyberpunky fiction. A special reverence for the darksinters is the Director John carpenter, who shot a huge number of reference horror and wrote to them no less than a number of soundtracks. The genre even has a third name — carpenteri. From sintava darksynth different sound dark, aggressive electronic beats and sometimes the alloy with industrial and heavy metal, which is reflected in the presence of heavy guitar riffs and solos.
Another important element darksynth edition — this is the cover that refers to the posters of cult B-movies that contain stereotypical images of the dead, killers, cemeteries, or space aliens. Cover often resonates with a carefully conceived concept album, complements and continues. Together they tell the story of a dark world and the future has not come, in which robots enslave people, deadly infections affect the continents, zombies are retribution mired in the sins of humanity, the crime rate is growing to grotesque proportions, and the countries run soulless dystopian machine. And among this madness is a single hero who has retained faith in justice and found the courage to stand up for good.
Although the soundtracks from horror movies musicians turned throughout the history of horror, and the creation of dark electronic compositions is hardly anyone’s surprise, as an independent genre darksint stood out in 2012 — about the same time as the synth. Namely with the release of such releases as “Terror 404” from Perturbator, “VHS” from Mega Drive, “The Movie OST” from Futurecop!, “EP I” by Carpenter Brut, “Out of Body” by Dance with the Dead and “Radio Macabre” by GosT. These things have defined the stylistic framework of the dark synthwave and formed an extensive base of fans. In subsequent years darksynth developed rapidly: there were new names, albums and EP were released with surprising speed, and even traditional Centauri began to add in their tracks horrory elements. However, the most famous representatives are still the pioneers of the genre Carpenter Brut, Perturbator, Dance with the Dead, Timecop1983 and Mega Drive. Initially the records were distributed mainly online, but increasingly sintav and darksynth bands concerts and tours which recreate the atmosphere of the eighties, not only music, but also light and visual show.
Do not think that sintav and darksynth is a thoughtless tracing from the popular music genres of the eighties. With all the careful reproduction of sound clichés of the time, the musicians use the modern experience of sound recording and sound production, for example, bringing the rhythmic lines (bass and drums) to the fore, making the sound more voluminous and rich, while in the eighties the mid and low frequencies were muffled and distorted by digitizing from film media.
Since its appearance darksynth increasingly moving away from sintava, bringing in his musical experimentation, finding different approaches to creativity and mutating into unexpected forms. Appear alloys darksynth with ambient, dubstep, to folk, metal and trance. Teams that started in one clip, now become completely different from each other, and even in each of their next release sometimes there is nothing in common with the previous one. Compare, for example, recent records such as “Possessor” GosT, “Dark Water” Electric Dragon, “Trapped on Tape” Grimlin, “French Erections” Reznyck, “They Made Me An Animal” VHS Glitch, “Mercenary” Hubrid, “Bad Blood” The Encounter, “Prey” Gadgetor, “Voyageur” Gloom Influx, “I Am Godzilla, You Are Japan deadly avenger and, of course,” leather Teeth “Carpenter Brut. We can say with confidence that in the future darksend will be more progress, moving away from nostalgia and creating state of the art sound.
And so gradually the pioneers of nostalgic dark synthetics create the avant-garde of the twenty-first century. Writing new old music, these guys saturate the spirit of the present of the eighties, which never was, but that we remember. Who could be like that now. Our cultural decade is hyperreal retrofuturism. The belief that the future of dreams has come. And perhaps this belief, which denies the meager reality, sooner or later will open the door between the virtual world and reality, filling it with honest art, technological breakthroughs and unambiguous worldview.