Staff Pix 11/6: Synth

“Bizarre Love Triangle” by New Order

Very few songs come close to perfection. Bizarre Love Triangle is true, final form, actual perfection. Undoubtedly my favorite song of all time, Bizarre Love Triangle transcends everything imaginable, creating a whole new atmosphere and world to live through. Filled to the brim with synthesizers, New Order becomes responsible for every other band from that same era settling into conversations that include sentences such as ‘still not better than Brotherhood or Power Corruption and Lies.’  Throughout the four minute track mostly every instrument is a synthesizer and every groove each one holds a different groove you can dance to. Kneel and pray to the modern Jesus… New Wave band New Order! — Mario Sierra 

“She’s Gone” by Mirror Kisses (George Clanton)

Mirror Kisses is a project that showcases some of George Clanton’s earliest electronic music. “She’s Gone” off the 2012 album Bad Dreams features a dark synth sound, noises that wrap around your brain and paint your imagination with bright color and lights. The insistent, sharp, synth beat crashes into your brain, while the light background notes ease the buzzy harmonics. The deep, dreamy vocals echo around in your head. I find my focus stuck on how the song feels every time it plays. Clanton was inspired by 70s and 80s synth-pop throughout Mirror Kisses, blending multiple synth-based genres into the origins of his iconic vaporwave sound. Clanton no longer claims the Mirror Kisses moniker, but the project’s blend of vocals, use of synth, and genre fusion created a modern synth staple. — Andy Brown

“Age of Consent” by New Order

A song that transcends space and time… The gates of heaven are opening, everything ascends into obscurity, growing more and more blinding by the second. Your body dissipates into the misty air of nothingness, and all that’s left is a pulsating memory of, well, everything. A divine arrangement arises from the dim ambiguity, string-like synth and bass clash against pacing drums; a marching heartbeat that won’t quit, not yet. “Age of Consent” is a remembrance, an evolution between past and present, a decision to stay in a moment despite your own mind’s dismissal. So much to say! So much to do! It’s all futile! It’s all worth it! You’ve made it! — Sophie Parrish

“Before Today” by Everything But The Girl

Everything But The Girl’s 1996 album Walking Wounded opens with “Before Today” on purpose. It introduces their newer, fresher electronic sound that is executed beautifully through the work. The sound is light and sweet with a beat that takes heavy inspiration from drum & bass. The rhythm works in sync with a hypnotic, chiming melody that sets a contrasting background to Tracey Thorn’s smooth and emotive vocal delivery. She sings “I don’t care if you’ve been here before/You don’t understand/Tonight I feel above the law, I’m coming into land/I want your love,” in an almost monotone way–the restraint in her voice gives her words an honest quality. Everything is laid out, she is not afraid to desire. — Isha Savi

“Genius of Love” by the Tom Tom Club

“Genius of Love” by the Tom Tom Club is an eccentric ‘80s classic. Released in 1981, “Genius of Love” became one of the most sampled songs in the ‘80s. A lot of R&B and rap songs sampled this track. The Tom Tom Club includes members Christ Frantz and Tina Weymouth, who were originally in the Talking Heads. “Genius of Love” falls under the synth and new wave categories. Its unforgettable production and layering gives it its eccentric and unique tone. The high pitched singing, bass, and synth work beautifully together creating a funky and unique song. — Makayla Markus

“Man Overboard” by Blondie

Released off of Blondie’s self-titled debut album Blondie (1976), “Man Overboard” opens with undeniably groovy synth and Debbie Harry’s deep, sultry vocals that eye the man overboard in question: “He gave it all for love / Lower the boats, he’s sinking in a sea of love / … Yeah, I’ve been sailing the sea of love, experiencing romance / … With what I know, he never stood a chance!” Original bassist Gary “Valentine” Lachman’s bassline is full of funk, which melts with Harry’s higher, siren-like “Oooohhh”s. “Man Overboard” is full of everything I love about early Blondie: the simmering synth, Harry’s irresistible and playful punk-rock persona, and the band’s disco sound they became infamous for in their early records. Retro pop influences are laced throughout, with legendary 60s songwriter Ellie Greenwich (“Be My Baby,” “River Deep—Mountain High,” “Christmas (Baby Please Come Home),” etc) appearing in the background vocals for the “Man overboard” chant—making this track even sound like that of a girl group at first listen. — Heather Thorn