The Rise of the Synths (2019)

1. If you are hearing this,

2. it's a message from the past... and from the future.

3. We all have our creation myths.

4. As societies, as people with shared interests

5. as individuals.

6. We all seek creative ways of expressing ourselves.

7. In the art we try to make or the stories we tell.

8. Some seek expression through the worlds they create,

9. on the page or in film.

10. And some through music.

11. My name is John Carpenter

12. and my creation myth comes from my childhood fascination

13. with storytelling and world-making

14. that led me to become a movie director.

15. As a guy starting out decades ago

16. on the periphery of the film industry,

17. making low-budget movies,

18. I learned to do everything myself.

19. Including making the music for my films.

20. Luck would have it that

21. others working with computers and electronics

22. had come up with a computer you could play:

23. the first music synthesizers.

24. They gave someone like me an orchestra and sound effects at my fingertips.

25. At the same time I was working with synthesizers,

26. other people were discovering them too.

27. I'm here to introduce you to a world of

28. an unknown music movement

29. you'll probably never heard of.

30. It's called Synthwave and its been growing in the underground

31. for more than a decade,

32. and only now people are paying attention to it.

33. You don't know it, but you have probably heard it

34. in the movies, advertising or video games.

35. We actually thought it was going to die

36. before we even knew it was called Synthwave.

37. We thought "This is it. Come and gone, done our thing."

38. It did not have a name, for a least, seven years

39. We were making music we thought sounded good.

40. One day we saw that word pop-up everywhere.

41. And at first I didn't get that it could had something to do with us,

42. or that we were included in it.

43. It's a new word for us...

44. Because we started to do this style of music in 2006-2007.

45. But it did not have that name.

46. And then suddenly we woke up in 2012-2013 with the Synthwave tag.

47. "Oh ok, we're in it".

48. So yes, it's music made with synths.

49. - And waves. - And waves.

50. Define it? Like the new wave?

51. Synthwave? I do not understand what the wave is.

52. I get freaked out with the genres sometimes,

53. pigeonholes.

54. And people get uptight on internet and stuff...

55. “This is dubstep or new euro funk or..."

56. Whatever it might be! Who cares, man?

57. Listen to the music, enjoy it.

58. There is too much keyboard warriors.

59. To me Synthwave is music that conjures movies in your mind.

60. It is a soundtrack for mind movies.

61. It is like a new term for electronic music.

62. A certain type of electronic music

63. that sort of recalls music you might heard in the 80s.

64. How would you define it?

65. The big question!

66. I see Synthwave as...

67. the illegitimate child of Metal and New Wave,

68. who did also some shady things with Electro at the same time.

69. It's a kind of melting pot of different musical styles.

70. And that's why it actually works, because it resonates with everyone.

71. There is no need to have a musical education,

72. or to have an encyclopedic knowledge of the 80s to enjoy that sound.

73. I think Synthwave is a very postmodern subcultural thing.

74. It's got one foot in the past

75. and it's got one foot in the future as well.

76. And so, it's forward facing and backwards facing at the same time.

77. And if you aresomewhere in the middle,

78. that's probably what I'd call Synthwave.

79. A lot of people feels that music is dying. It's becoming generic.

80. There's no soul to it. No real feeling to it.

81. Most people who listen to Synthwave fall in love with it,

82. if not immediately, maybe after two or three plays.

83. I believe it is going to be huge.

84. You can't stop that!

85. Good morning, Youtube. It's Alex Eldridge,

86. aka Oceanland, and it is time to make some Synthwave.

87. How you can sound similar to Kavinsky...

88. 80s kind of sound to it

89. This is what it would sound like.

90. Is it possible to feel nostalgia for a decade you did not really lived in?

91. This is good! I love it!

92. More sax!

93. Is Synthwave a trend or are-appropriation of the past?

94. It's both, isn't it?

95. It is are-appropriation of past sounds to make a new trend.

96. I always played with the thought of making 80s inspired music,

97. but I didn't think anyone would listen to it.

98. I was worried that people might not get it or like it, you know?

99. It's like, would people buy my records?

100. I think the 80s were such a huge influence,

101. such a big change that...

102. everything that came afterwards took pieces of it.

103. I know there was a big break in the 90s.

104. It had to change a little bit and create something new.

105. But we always come back to it. Like we do now.

106. Synthwave is new music.

107. People say that it sounds like the 80s.

108. But actually, to my opinion, it doesn't really.

109. It takes the feelings that were projected

110. by the things that we loved in the 80s...

111. and sort of converts the emotional response into music.

112. The 80s were just a less cynical time.

113. A magical decade for films.

114. And films had not crossed this awful meta

115. self-aware thing,

116. that we are witnessing now.

117. Films wore their hearts on the sleeves.

118. Yes! I think people are genuinely craving that.

119. Look at "Stranger Things" and what that did to people.

120. They managed to capture a small shot of that Amblin era...

121. Spielberg's 80s magic...

122. and people went nuts!

123. Oh my God, this sound?

124. I can't say “Stranger Things" was made

125. because they were inspired by Synthwave.

126. I don't know that.

127. But I truly believe that will be unstoppable.

128. And it will be the next big thing,

129. and Taylor Swift and all these guys will copy the sound.

130. I didn't expect Synthwave to be as influential

131. on mainstream as it has been.

132. Mainstream music is like this big layer that everybody is aware of.

133. Music that people are aware of.

134. But underneath that, there is this massive Synthwave presence.

135. Suddenly everyone is talking about it...

136. That's when they all Google "Synthwave artists"...

137. I want the whole world to know about Synthwave.

138. Who would not like it?

139. I think people find today's Synthwave

140. that sounds like old electronic music...

141. They find it fresh because they never heard it before, that's all.

142. It's probably just as simple as that. Something new.

143. I've been lucky, due to my age, to live in that time.

144. The catalyst for Synthwave is nostalgia

145. and the visual aesthetics of the 80s and cinema as well.

146. Many LP covers of Synthwave, what they describe

147. and what they're reaffirming is an aesthetic.

148. And I think this is what people like.

149. Grid backgrounds, like the movie "Tron",

150. these gradients and colours especially in lilac tones,

151. those cities you see on the horizon, at night,

152. with neon lights and billboards, like in "Blade Runner".

153. I think the graphic design, the art,

154. is a first step especially for underground artists

155. as they need to catch your attention quickly.

156. I think Synthwave did help.

157. It definitely sparked another interest to people.

158. "Hey, remember the 80s? It was so cool!"

159. And there's all these bands playing 80s type of music...

160. There's even video games being made... looking 80s.

161. Not just the music.

162. I think a lot of that 80s style came back.

163. Yeah, the movie "Drive".

164. Synthwave is just a term that kind of crystallised.

165. The catalyst was "Drive", the movie.

166. So around 2010, I basically just wanted to stay longer

167. in the universe of the movie, in a way.

168. Everything was so new in terms of... I don't know. Before that,

169. most people would probably look at it sort of derisively

170. if you said that you listen to that kind of music.

171. Ten years ago it wasn't that cool as it is today.

172. It wasn't called "Gunship“ back then,

173. but we'd already written half a record of it.

174. We put a lot of work into it and then

175. there was a defining moment when it shifted.

176. And we were like: "Ok, this project is changing.

177. - That's when I went to see "Drive" - Yeah

178. I remember going into that movie by myself.

179. It was the summer,

180. I rode my motorcycle to the cinema by myself.

181. Just took a chance.

182. It was hot for England, I was just wearing a t-shirt

183. and I will never forget it.

184. When the credits came up and that track rolled

185. I was just like: "This is magic!"

186. The movie, if it got an impact on many things,

187. it was because it defined a type of sound.

188. I was waiting in my heart for a director who says to himself:

189. "Oh wait, there are guys doing this kind of music“.

190. Electric Youth and us, we were contacted

191. shortly before the movie was showcased at the Cannes Film Festival.

192. It was really important for all of us to be on that soundtrack.

193. That's the magic of cinema: it's forever.

194. It's a song that's going to last.

195. For people like us who love cinema, it's the ultimate dream.

196. It's not a Synthwave song, I could say that.

197. It's not a retro song.

198. I'm saying that as people who created it and the intent behind it.

199. I wrote that coming from a place of true emotion,

200. so it's hard for us sometimes,

201. when we see a song like that, that we put that into,

202. and what someone celebrates about it is that

203. they feel it sounds like 80s.

204. It just feels very surface level for us.

205. I guess you could say it's a bit of a misunderstanding.

206. But at the same time it does come back to:

207. There is no wrong take on art.

208. If someone takes it as that,

209. and that is what it is for them, they are not wrong.

210. I think it made it ok for people

211. to love pink neons and the cities at night.

212. I love cities at night.

213. I think we're doing a little bit too much about ”Drive...

214. When media outlets discovers something for them it's new.

215. But people making music with synths, it's not really new.

216. But I think it was the trigger, because the song was a hit.

217. And then people were like: "Hey, why don't we do the same?“

218. Since the release of "Drive",

219. I'd say a lot of people gravitated towards that.

220. I didn't actually see it for a while.

221. I was writing this music and people would be like:

222. "Watch Drive, you'd probably like it. It's a good movie"

223. But up to then, I wasn't aware of other people

224. making retro electronic music.

225. I didn't think this subculture was gonna get so much attention.

226. I don't want to sound purist or snobbish

227. but for me, it took a lot of the fun part away.

228. All of the sudden, I started hearing from people

229. that I knew in my friends environment...

230. "Have you seen this movie?

231. It has this really great retro soundtrack."

232. I'm like: "Yeah, ok... I'm doing this sound for a few years"

233. To be honest, I didn't even think of being

234. part of this documentary and showing my face.

235. I just got the feeling that they think

236. it should be like a closed club, you know?

237. That no one else can come and make this stuff.

238. And I'm thinking: that's ridiculous!

239. When what we're doing is a homage to the 80s.

240. You ain't inventing this stuff!

241. I think when we all started off,

242. it was a very small community.

243. There weren't a whole lot of bands.

244. I mean I only knew like maybe six bands.

245. I didn't think there was gonna be,

246. hundreds of other guys in the next few years.

247. Maybe it was a little more special when it first started.

248. The small community... and then now, it just kind of evolved.

249. And everyone is like: “Oh, I could do that too."

250. The kids rushed on the bandwagon and the music suffered.

251. There's a lot of bad records out there.

252. A lot of great ones too.

253. I'm probably too old and stupid but I hate the Internet.

254. In a way, it has killed the concept of criticism.

255. I mean, everybody says what they think on the Internet.

256. And there are people who share their opinion with you,

257. even if no one has asked them to do it.

258. It becomes a big circus. People insulting, morons, you know?

259. There is a Facebook group that still exists called "Synthetix,

260. where everyone could go and discover things and talk about it.

261. I was definitely one of the guys that kind of blew up.

262. It wasn't anything I was ever really pushing after hard.

263. It just sort of happened.

264. I know there is definitely a group of people,

265. were kind of hating on it or whatever...

266. and feel like they should have been there.

267. I don't have all that. The only thing I have is Twitter.

268. I don't even reply.

269. When I did have Facebook...

270. a fan made it and made me admin.

271. So I start using it... I post a couple of tracks

272. and I got comments like: "This isn't an 80s Stallone track"

273. And I'm thinking: "Well, I fucking made it!

274. So there's no interest, you know?

275. The music is more interesting. It always come back to that.

276. We were making what we wanted to hear,

277. and finding other people doing the same thing.

278. When we formed Rosso... it was a gamble.

279. We didn't know if anyone else would even like it.

280. For me, success will kill Synthwave

281. as it will lose completely its garage spirit.

282. I don't know. It is growing.

283. I'm not sure whether that's a god or a bad thing.

284. We'll see.

285. There's a rebel beauty in the way these artists

286. feel so strongly about their music and subculture.

287. I say to them:

288. If you want to create something, you can do it.

289. If I can do it, you can do it.

290. Don't intellectualize it.

291. It all comes down to one thing: instinct.

292. That's what you must keep close to you.

293. I'm on that tape because some of the kids seem to relate to

294. something in my career and my soundtracks.

295. I don't really know about that.

296. I don't think anyone should relate so strongly

297. to what old folks like me have done in the past.

298. I've tried my best to make good movies and music.

299. I tried really hard because that's all I could do.

300. But everything after that, what it means to others,

301. it's not on me.

302. If it means something to you, That's just great!

303. Part of being an artist is finding what you want to do.

304. And once you find it, you'll know.

305. You'll feel it. “This is it.“

306. For me, I had no choice. I fell in love with movies.

307. But then came music and that was transformative.

308. But my first love was in the movies.

309. That's where I decided to go to school and learn how to make them.

310. I wanted to do that more than anything in the world.

311. Things exist in cinema that don't exist in other places,

312. in real life.

313. You just have to go where you love.

314. In the mid-2000s, maybe 2006-2007,

315. we all felt kind of stale

316. with what was popular at the time.

317. There wasn't a lot of inspiring new music coming out.

318. We got to this place that wasn't very exciting.

319. So me and a lot of my friends started looking to the past for inspiration.

320. That's where we first got into ltalo-disco and krautrock.

321. Things like that became really influential

322. on the sound of "Survive" and a lot of other artists.

323. It was a big group reaction to culture at the time.

324. We all started bumping into each other on MySpace.

325. And we're thinking: "this guy's making something similar".

326. "Oh, there's disco..." and we're looking through...

327. recommending people to each other and started talking.

328. Everyone was on a same open field back then.

329. Probably internet geeks or something, I don't know...

330. I was not a user on MySpace.

331. Something happened in Myspace?

332. It was a guetto, right? There were no rules.

333. - Myspace era was... - Is where it all began.

334. - I think the best time of Synthwave. - Yeah

335. I didn't know there was any scene back then.

336. I just started making music.

337. I have no formal background, training in music, anything like that.

338. I downloaded some really old software

339. I think it was called "Making waves audio".

340. Most of the stuff was completely free.

341. I didn't have anything, no money to spend on the software.

342. And that's basically howl learned: by myself.

343. Facebook wasn't as popular. It had recently came up.

344. At that time, there was no outlet for people to share

345. other than Myspace and some message boards.

346. I uploaded a few songs there.

347. I think it was Miami Nights, ActRaiser at that time...

348. He asked: "Do you want to join this collective?"

349. I said: "Ok, no problem. Let's share ideas and music."

350. The first thing I remember of when I discovered this Synthwave world

351. was MPM soundtracks and Miami Nights 1984.

352. Those were the acts where I was like: "What is this?

353. Because I've grown up with 80s music.

354. It was clear it was new, but it wasn't trying to pander to radio.

355. It was clearly trying to be very in-your-face 80s.

356. And I was like: "You can do this?- It was a wake-up call.

357. I was like: "Oh my god. There are other people that like this?"

358. I think myself, 80s Stallone,

359. ActRaiser at the time, Miami Nights 1984 now,

360. we weren't the first... There were not just a lot of bands.

361. That were only like a dozen people on MySpace,

362. really trying to push that sound.

363. So, as a group, we would advertise for each other... basically.

364. We were surprised, that we weren't alone.

365. Slowly people started to understand it.

366. There was definitely something happening in Europe, in France.

367. The first people really doing it, would have been...

368. Kavinsky and Valerie Collective.

369. I'd say they definitely started the whole thing.

370. We always come back to Kavinsky. "Testarossa Autodrive", there you go.

371. The french! They do electronic better than everyone.

372. The first thing I remember, it would definitely be...

373. Probably around 2007,

374. I've found Kavinsky through Justice, I guess...

375. and they made an impact.

376. I didn't realise what it was at the time.

377. Just something I liked.

378. It wasn't really that retro but, in hindsight, yeah,

379. I feel like it led to a lot of the things

380. that we associate with Synthwave now.

381. At that time, "Discodust" was a really big german blog

382. for anybody who was into electronic music, and music discovery.

383. It was there where I came across

384. the cover of College's first "Teenage Color".

385. And that image just caught my eye.

386. This was like: "Wow, like this is...

387. This makes so much sense to us!“

388. I remember Austin stayed up all night on the Internet,

389. and I woke up in the morning and I came downstairs,

390. and I was like: "You are still up?", and he's like: "Man..."

391. "I found something that it's just extraordinary".

392. He couldn't believe it! Like he found something

393. that was so close to his own heart... That was really cool.

394. Yeah, it was definitely a game-changer for me.

395. I don't really know what goes on. Or how to communicate.

396. I don't understand Facebook.

397. I could, don't get me wrong. Maybe it's me...

398. being stubborn and not wanting to do it.

399. But yeah, I don't know how things work these days.

400. I don't even know how to get a track on iTunes or whatever.

401. Because it's such bullshit!

402. What's the point? That's how I honestly feel about it.

403. I'm just going to make some music and put it on the internet for free.

404. If people listen to it and like it, I'm happy.

405. I like to keep things quiet and personal.

406. I'm not the thing that sells. The music is.

407. Do you know what I mean?

408. That's probably why we never put a face to it.

409. We didn't feel we needed to jump up and down on "Top of the Pops".

410. A lot of artists are just little bundles of self-doubt

411. that somehow still put out work.

412. I've just existed purely on the internet so far,

413. just as a recording artist.

414. I've also benefitted from not really having

415. my face or my body shown a lot...

416. Specially as a woman, you're in a position where people feel like

417. they can judge you more for how you speak or what you look like.

418. It's not standard for girls

419. to have a mask with glowing eyes on stage and just: "Rock out!".

420. I've been lucky that hasn't been a huge part

421. of my brand or my identity.

422. We're hidden!

423. Nobody knows how each other looks like unless

424. they put in their artists page: "This is how I look like"

425. Most people have picture of 80s memorabilia for their artist page.

426. About that, I mean, I sometimes wonder myself.

427. What's going on? I mean, why are you hiding your face?

428. I don't know, I never really thought about that.

429. Do you need to show your face?

430. I assumed there wasn't much interest in what I do.

431. I'm just some guy on the internet making music.

432. Even now, I don't know how anyone looks like.

433. It's a bit strange. I never had the intention

434. of creating any sort of faceless or mystery thing.

435. The Internet forces you to show your face.

436. But I think it also does the opposite.

437. You can put anything you want on the internet.

438. No one has to know who you are.

439. A lot of the people, at least that I've met personally, are introverts.

440. Its people that just want to do this, for the sake of doing it,

441. and maybe not for recognition. They just don't put it there.

442. So, if you don't chase it, you're not going to find it.

443. I was influenced by some of my favourite artists,

444. like Daft Punk, Danger.

445. For me, it always seemed appropriate,

446. for live electronic music... because it's just you.

447. So, if you add that little bit of... question... the mystery...

448. It's like I'm abandoning every bit of identity that makes me human.

449. It makes me something you can't latch on to,

450. because the way I look as a human being.

451. There's nothing cooler than Daft Punk in their pyramid at Coachella.

452. That shit is... wild!

453. We are so in the "Me, I" era.

454. "I do this, I'm better than you. I have more likes than you".

455. "I have more fans, I have It becomes stupid.

456. I don't care what you're doing or eating.

457. I'm only interested in your music.

458. I've always thought that music existed on its own,

459. and discovering who is making it will not make it better.

460. I can take this off and you can put a light on me,

461. but I don't think the interview will become better because you see my face.

462. I don't buy that. That's a fashion statement in itself

463. for bands to hide their identity

464. because they want the music to come first.

465. Not the fashion.

466. To say: "I have no identity and I have no look",

467. is a fashion statement just like dressing up like Lady Gaga.

468. Since, let's say, 2009, Internet has changed a lot.

469. Back then, maybe it was still rooted in this - now almost obsolete idea -

470. of Internet as this open frontier without corporate controller.

471. Nowadays, you're constantly managing yourself as a brand

472. and people's mindset has shifted a lot in that sense.

473. Nowadays technology is allowing us to reach the listener very quickly.

474. So you think to yourself:

475. "I'm going to do it myself because I have all the tools".

476. "I have YouTube tutorials, the computer and virtual instruments".

477. "I don't have to wait for a label or someone, to give me a chance".

478. And what has really been created

479. it's a movement coming from the artists, not from any label.

480. It wasn't an executive, it wasn't the industry.

481. The artists themselves are the ones

482. who have created this movement in the digital era on the internet.

483. I do not want to sign with a label. I want to do it on my own.

484. Maybe Synthwave artists,

485. we are the last rebels of the Internet 2.0.

486. You know? Just like: "Fuck you".

487. It's a one way traffic.

488. Underground culture always gets noticed at some point

489. by the big corporations that will try to sniff money from it.

490. There's nothing you can do about that. You will not win this fight.

491. But there's nothing wrong with taking their money.

492. But the one thing they must not take from you

493. is that instinctive feeling of: “This is mine, this is my art."

494. “I'm making this for for a horizon."

495. "You might not see it right now but I want this thing to last."

496. "It might not be what you like or what you want."

497. “But, you know what? Fuck you."

498. Most of these guys were not even born in the 80s

499. or, at least, they experienced the 80s through the TV shows and movies

500. they saw as teenagers.

501. It may not seem to be important but the 90s were a time

502. where a lot of things were radically changing.

503. And everybody was rejecting the 80s.

504. Everybody wanted to move on from that decade.

505. It was the mass introduction

506. to digital and personal computers for households.

507. Everybody could make music in their bedroom

508. and no middleman was needed anymore.

509. That was a lie but, we bought it.

510. Analog wasn't cool. Synthetizers weren't cool.

511. Get a guitar and play loud!

512. And we moved on from the glossiness and carefree attitude of the 80s.

513. No more leggings, crazy hair or cheesy music.

514. Let's do something else!

515. Find the Game and use the coin.

516. - The 90s? - Do we have to?

517. I didn't know that the 90s were like a "no-no"

518. apparently in the synthwave community.

519. What we are now fetishizing is really 90s.

520. Because the colors... it was 16-bit. You couldn't do that in the 80s.

521. So what we're calling 80s and retro is really 90s.

522. So, the 80s and 90s...

523. they tend to blur into each other in a cool way.

524. The funny thing is that the 90s sound like the 80s.

525. Right up until 1996.

526. Especially 90s action films.

527. We get our best inspiration from that stuff.

528. The music was always so epic.

529. The music works so good! It's so badass!

530. "Terminator 2"

531. Well, the movies themselves were... just better.

532. Some of the main touchstone movies that we all of us love,

533. were at the end of the 80s, anyway.

534. Early 90s was also a very fruitful era for

535. what we perceive as having 80s values.

536. It wasn't until like 1995 where it all changed.

537. I was playing saxophone,

538. and trying to do music and have girlfriends.

539. I didn't have a girlfriend, for sure.

540. In those years, my musical culture was much more techno,

541. I listened a lot to Underground Resistance, Jeff Mills,

542. Fumiya Tanaka...

543. I would go to quite a few technos parties,

544. And then Daft Punk in 1997 releases "Homework",

545. which is a cornerstone of all this.

546. "Homework", when you open it, the artwork is their childhood bedroom.

547. That's the intention, really "Around the World", all those tracks.

548. It's already a little nostalgic.

549. I have this view that Synthwave has...

550. in its DNA and its roots... that it's French.

551. I remember talking with a French artist

552. about how when he was in high school in 1996,

553. he was at some club in Paris

554. an underground thing,

555. and there is Daft Punk without there masks, before the robot stuff,

556. DJing in the middle... mashing it up whatever.

557. They were tapping into this 80s retro sound.

558. But I think the French never saw the retro as uncool.

559. We grew up with this beautiful cool thing

560. let's see what we can do with it now.

561. And I think Synthwave came from that.

562. I don't know...

563. Maybe that was new music made for dancing.

564. It was...

565. And it's true that the French Touch...

566. only the French knows how to do it, you know?

567. Musically speaking, I'm not a fan.

568. I find it loops too much. It's very repetitive.

569. Well, that bores me.

570. You should really dance to it, and I don't dance.

571. In the 80s, synthesizer music got really popular

572. and it was everywhere, in everything: every movie, every commercial,

573. all over the radio.

574. And human nature: we want something and we want a ton of it!

575. And at some point, there's a tipping

576. where humans go: "We're over it. What's next?"

577. And so you tend to go to the other side of the scale

578. and go for something completly opposite.

579. Then in the 90s, you've got the whole grunge movement

580. and basically killed 80s metal, which we're all thanking God for.

581. Sorry guys. You're gonna get your ass kicked.

582. When punk finished and the grunge started,

583. synth was just no cool. It was the enemy.

584. It was a technological driven affair that were used by people

585. that were, fundamentally kind of intellectually poised.

586. And when Nirvana came along: "Fuck all that shit!"

587. "I just want to make loud, aggressive music."

588. And that's why it went, because it just became uncool.

589. It was cheesy!

590. Even Queen specified "No synthesizers" on one of their albums!

591. People were ashamed of using synths.

592. But I think it was because there were so many pop songs

593. done with the DX-7 synthesizer sound.

594. "Boys, boys, boys”, Sabrina, stuff like that...

595. It was hell on earth! But not the cool one.

596. And suddenly I think, synths, nobody could take it anymore.

597. We had to go back to something electric. That comes out of an amp.

598. That's badly played, and who smells like sweat...

599. and piss.

600. The 90s are massively important because

601. the majority of the guys on the scene are of our age

602. and the 90s was our time, our era of music.

603. In the 80s, actually, everyone was probably too young.

604. I think that NIN in the 90s, they had inspired as much

605. as John Carpenter, but nobody says so

606. or it's not assumed as a fact. I don't know.

607. I think that unconsciously I put in my music.

608. I think a lot of people put in their music too.

609. They just are not aware.

610. They are stuck in this kind of: "We are in the 80s decade"

611. Yeah, I think that's basically the main cool right I did.

612. I mean Trent Reznor basically made

613. fucking around with sequences and drum machines cool again.

614. I didn't know electronic music.

615. I was making metal music.

616. I was a guitar player.

617. I've just quit a metal band that didn't work well.

618. It was an impulse: I wanted to make music.

619. And the best way to do it, it was alone.

620. And the best way to accomplish this, was to do electronic music.

621. We were coming from metal and rock.

622. It turns out that everyone else too, but we didn't knew it.

623. Ee thought we were trailblazing.

624. Heavy metal is a magnet for people

625. that are unsatisfied with the status quo.

626. And Synthwave is kind of similar.

627. It's people that have abandoned

628. the simplicity and limitations of pop music

629. and are going for something more emotional and atmospheric.

630. During that time what Slayer and Pantera were doing,

631. what Biohazard were doing, all that stuff...

632. probably influenced Carpenter Brut and Perturbator.

633. How old was I in the 90s?

634. I was 15-16

635. So I had to be a rebel against something.

636. And so I listened to metal.

637. At that time, it had to be the most violent.

638. Cannibal Corpse, Brutal truth, things like that.

639. I was probably procastinating, like any 15 years old kid.

640. I don't know if synth music really went away,

641. it probably just went under for a bit.

642. I think it was like a rebellion against...

643. it's got to be more human aspect of guitar...

644. it's more...

645. Yeah... more human or something for some people at the time.

646. It was like an act of rebellion against... what?

647. Had previously been in vogue or in fashion, or popular?

648. We wouldn't be even talking about the term "Retrowave"

649. if it wouldn't have gone for a while.

650. Because then, something would not be retro.

651. And it's also celebrates an era

652. of when people started making music

653. on personal computers on a wider scale.

654. From there, a lot of people started experimenting

655. and guys like Kavinsky or Collegue came out of that.

656. - It wasn't as easy to make music. - Yes.

657. To have synthesizers you needed money,

658. you needed gear,

659. - you needed a place. - A studio.

660. It was really hard.

661. Our music was born due to the democratization of music making.

662. When I bought my first personal computer, that was it.

663. Everything changed.

664. We could make music in our bedroom.

665. I use "Fruity Loops", for christ's sake!

666. There you go.

667. I started playing bass because everyone else played guitar.

668. What's the point of playing guitar

669. if there's a guitarist on every corner? So I played the bass.

670. I got into... doing everything myself.

671. Because I've been in punk bands, in all different acts, live acts...

672. but as soon as the girlfriend is sick or they want to go on holidays...

673. the drummer is not there... So I get a drum machine, I built my own band.

674. And I can tell them what to play, what to do.

675. That's right. So let's make a kick. That's too long, that's too techno.

676. So we want it tighter. 80s kick.

677. Too hard.

678. Kick drum, 414.

679. Looks a bit crappy but

680. it's free... I don't even care.

681. Let's go.

682. I knew all the cool stuff, all the rock

683. and the stuff some people were: "yeah, this is cool to like"

684. I knew how to do that.

685. This stuff I didn't understand how they were making it.

686. With the computers and the techniques involved.

687. There's something going on the back of my head saying:

688. "How do they do this?"

689. Everything else got so boring towards the end of the 90s...

690. Everyone's just doing the same shit,

691. so we kind of stepped back I suppose,

692. and done our own thing.

693. So do your homework!

694. And it's easy today...

695. You go on the lpad, on the Internet. It's all there for you.

696. We never had that back then. We had to physically do these things.

697. We couldn't just Google.

698. When I started making films, I didn't know what I was doing.

699. Nobody did!

700. There's no conscious explanation why you start to make movies

701. or any art,

702. it comes from within, like a need.

703. A lot of people when they are young feel that they are out of place,

704. that they don't fit,

705. they hyper focus their creativity on something,

706. you are just being an artist.

707. People think I'm an outsider in Hollywood,

708. this mythical version of me, fighting the system.

709. I wanted to make films, and make someone pay the bills,

710. but I just didn't fit in the system.

711. I had to do it myself.

712. I think those composers started as a revolution

713. against the coolness of guitars when the 80s were denied,

714. but they didn't know it.

715. They were against the trend,

716. outsiders but in the most youthful naive way.

717. That's a very punk attitude. I can relate to that.

718. All meaningful art has to break rules.

719. You don't knock on the door and ask for permission.

720. You just break the wall down and hope someone will listen.

721. I started scoring my own movies because I was cheap and fast,

722. and I just didn't have any money to hire

723. a sound engineer or a composer.

724. As my father was a music professor, I was forced to play violin,

725. but I had no talent.

726. So I switched to keyboards and guitars.

727. A movie score is really about mood,

728. like laying a carpet down for the scene.

729. Sometimes it's the simplest things.

730. It may not be much to it, and it may not take too much talent...

731. a long descendant note, a repeating pattern...

732. but it just make you watch the screen!

733. And that's the whole point:

734. Make you watch and listen to the movie.

735. I think people were very willing to forget what happened before,

736. we were always in this state of mind:

737. "Yes, we'll go ahead, we'll do best movies, best music"

738. But there's a blockage, something that doesn't work anymore.

739. And people look behind, and say to themselves:

740. "There was something cool in the 80s." "I really like neons."

741. I too had this effect and watched tons of films,

742. I watched everything.

743. "The Goonies", "Gremlins", "Scarf ace"

744. "Rocky" and "Rambo", everything.

745. And I realized that it's true. There is something attractive.

746. We want to be there.

747. We don't want to be sitting in front of our shitty television,

748. eating expired chips.

749. We want to be in “Back to the future", in the "Delorean".

750. "Back to the Future", yeah

751. 88mph man, get me back there.

752. The “Rocky montage!"

753. Oh my God, the 80s!

754. When I think about the 80s

755. I think about sitting and watching "Ninja Turtles" and cartoons...

756. If you look back in history, everything's in black and white.

757. And you think the world is in black and white.

758. When you think of the 80s, you sort of see it as that VHS...

759. kind of out of tune TV.

760. Maybe that's what stuck with everyone. Everyone had that experience.

761. I was born in 1983, and I actually grew up in Croatia.

762. Then we had the war in 1991 and it was like the end of an era.

763. I was part of the Eastern Bloc

764. and all the movies were coming from the US

765. and it was like this holy grail of what life could be.

766. Specially because I was such a small kid

767. it had this mythical proportions.

768. I grew up in a housing project, and I think

769. it has really influenced my culture.

770. There were several housing projects like that in France,

771. which were somewhat modeled on the US housing estates models.

772. With the school, the supermarket. Everything in one place.

773. And as we watched TV shows,

774. somehow we felt like we were in California.

775. But no, we were in the suburbs of Nantes.

776. I was born in 1977.

777. So in 80s, I'm kind of young. I'm growing up.

778. The Stallone thing... probably I was watching the "Rocky" films as a kid.

779. The "Knight Rider", "A-team", all these shows are on...

780. The synthesizer music, the action...

781. the macho, "Rambo", all these... 80s films.

782. That stuff sticks with you, you know?

783. I grew up, I don't want to say poor, but we didn't have a lot of money.

784. So when we got our first VCR, it was a big deal.

785. A super big deal.

786. I remember getting an Atari 2600.

787. When we finally got one in the house, it was a cool thing.

788. Watching Pac-Man who wouldn't turn sideways. It would just go like this.

789. I was playing with fucking rocks, sticks and treasure-hunting in the 80s

790. Listening to bands like...

791. I don't know the name of the group that did "Pop up the volume".

792. That shit was huge for me when I was six.

793. The Walkman.

794. You were carrying your cassettes, with your pencil to rewind them.

795. When you grow up it's your best time.

796. When you're a teenager, and you're discovering everything.

797. If you know what I mean.

798. And when you get older, life is actually less amusing.

799. So you try to put yourself back, in the moments that made you happy.

800. For me, it's the 80.

801. This is what is called in France “Proust's madeleine...

802. There is a little smell, right? like when you had glue "Clutre" pots.

803. Well now, if you smell that glue,

804. it automatically reminds you when you were in primary school.

805. Probably when things were simpler, a young age...

806. I didn't have all these worries. I had more hair!

807. Everything was better when I was younger.

808. I had a future!

809. I think nostalgia plays a huge role.

810. Because the audience is about the same age as me.

811. Growing up in the 80s, and their childhood is in the 80s.

812. So there's a lot of sounds that relate to something that they grew up with.

813. The thing that leads people who aren't into electronic music or Synthwave

814. it seems to always be movies or TV shows.

815. It's that strange? It's not just the fashion

816. or hearing it on the radio.

817. It's actually movies. It's interesting.

818. I wouldn't say it was so much the 80s.

819. It's that the sounds that we fell in love with

820. were a lot of that synthesized soundtracks from movies.

821. Definitely soundtracks is what we always pay attention to.

822. "Those sounds are so cool." How do we get that sound?

823. The language that we share in the studio

824. it's almost never bands.

825. It's like: "Put a bit more Goonies in it."

826. "Put a bit more Terminator in it"

827. It's all visual, isn't it?

828. That's the language we use and I haven't realised that until now.

829. One of my favorite records ever.

830. That's a big track for me.

831. It would definitely be the "Rocky" soundtrack.

832. I had them on tape.

833. "Rocky lV", such a big soundtrack...

834. “Miami Vice", "Mad Max"...

835. those kind of soundtracks. “Lethal Weapon"

836. "Over the Top", "Top Gun", "Scarf ace"

837. “StarWars, “Robocop“, “Predator, "Terminator.

838. “Ghostbusters".

839. I got some bottles of water, and a piece of wood,

840. and I went to school like: "Yeah, Ghostbusters!“

841. In fact, that's what I wanted to do later as a profession.

842. Ghost hunter. I thought it was cool.

843. I told you there was a dinosaur!

844. I'm still a newbie.

845. I'm discovering things everyday.

846. I wasn't born in the 80s!

847. But I love films from that era.

848. Because I love "The Goonies", the old "Star Wars" and all that stuff.

849. There was "Miami Vice"

850. Who was the composer?

851. I don't remember.

852. I'm very cold.

853. It's funny. I know a lot of directors from back in the 80s,

854. but I don't know many of the composers.

855. I think a lot of the music that we love from that era,

856. even Steven Seagal movies and really bad straight to VHS movies,

857. those composers didn't influence people, they didn't move on.

858. They made this amazing music, that just came and went.

859. I loved those cheesy movies...

860. those b-movie sounds. There's one...

861. it might be the one... with Johnny Depp...

862. "Private Resort".

863. It's rubbish acting but with some really good music.

864. All that music is never going to be released

865. because there's not a mass-appeal to it.

866. It's just a random 80s movie with music in the background.

867. Obviously the big guys like John Carpenter and...

868. Hans Zimmer and all those guys back then...

869. they all set influences but there's a whole world

870. of 80s soundtracks that didn't influence anyone.

871. That came and went.

872. Only now people are sort of bringing it back.

873. We ain't influenced by anything

874. that was particularly mainstream in the 80s.

875. Probably "movie-driven" things.

876. The "Blade runner" soundtrack

877. is the most significant influence for us.

878. A lot of the patch design and stuff we do on the synths

879. is almost always referencing "Blade Runner" in one way or another.

880. For me it's timeless.

881. It's a movie that hasn't aged. It's a film that is beautiful.

882. The score... everything is perfect.

883. The score it's so... extraterrestrial.

884. It's sounds we've never heard before.

885. And even today when I listen to the Vangelis score,

886. I don't know anyone else who has done that. Nobody.

887. And I know many who tries. Me, including.

888. Also, Giorgio Moroder. Very important producer.

889. I really like him but I discovered him very late.

890. Maybe 10 years ago, to be honest.

891. I like his soundtracks a lot...

892. the work on "Scarf ace" or even "Cat People".

893. It's a quite unfamiliar movie but it has a really nice soundtrack.

894. And he was also coming from like the disco age.

895. And then, all of a sudden, he's doing soundscaping soundtracks.

896. So it's an interesting mix.

897. I think about horror films and John Carpenter.

898. John Carpenter movies.

899. John Carpenter.

900. Obviously John Carpenter kind of started

901. the whole simple ridiculous four-note fucking riff,

902. that can be really powerful and creepy.

903. I watched "Escape from New York",

904. hundreds of times before I was 20.

905. He creates melodies that stay in your head...

906. forever.

907. He's a rock star. It's a cheesy thing to say

908. but he's an outsider.

909. He's a man that was like: "the status quo can go fuck itself".

910. I relate to his attitude, back in the days.

911. "I don't have an studio that's gonna help me,

912. I'm all by myself,

913. but I'm gonna find a way.“

914. It's like: "Fuck you all."

915. If you think about Carpenter movies, what is it that you remember?

916. It's the atmosphere! And that's the same with Synthwave.

917. And that's why I think we're all obsessed with Carpenter.

918. He's the full father of the whole thing.

919. Maybe that's the introduction to watch Carpenter's movies.

920. My family moved to Bowling Green, Kentucky, when I was a kid

921. and it was a strange place to grow up.

922. I was afraid of everything back in those days and I became a strange kid.

923. I was very unhappy. So what did I do?

924. I run into the cinema to escape from that,

925. it was my place to hide from the world.

926. That's where the world made sense.

927. Soto me, movies were a miracle.

928. And then I realize: "hey, there's someone behind the camera"

929. "There's someone who's leading this"

930. Then I saw “Forbidden planet in 1956

931. and I said: “that's it. I have to do that."

932. Sound is just a vibration in the air that goes through your ear.

933. There're probably a lot of scientific theories about music and art

934. and how it works and how it moves you in a certain way or another,

935. but who cares? Are you gonna make art in a lab?

936. I don't think so.

937. Art, the way I see it, it's just a vehicle for emotions.

938. In my mind some of the originators,

939. the people who created the synthesizer sound

940. were the people that were getting those early Moogs.

941. Keith Emerson and Wendy Carlos.

942. Giorgio Moroder,

943. John Carpenter,

944. Vangelis, who I think is massively talented.

945. You watch this guy basically compose and entire orchestra of sounds

946. just him on a synthesizer.

947. Tomita, he's a japanese composer as well.

948. So there were super talented guys.

949. They were at the right time and place, technologically speaking.

950. This is the stuff that my grandfather played me when I was a kid.

951. I remember him bringing me into this room

952. popping these huge headphones on my head

953. and introduced me to a world of synthesizers.

954. I didn't know what could make these sounds but I was mystified by it

955. and I had to find out.

956. Most the people that are listening to it

957. are probably like me.

958. They're pretty nerdy and I would guess they probably know

959. the origin of where the music is coming from.

960. One thing I thought was very different

961. that kind of attracted me to it was the community.

962. An awareness of where they came from.

963. A lot of music scenes... they couldn't care less.

964. Tangerine Dream... this huge influence for me.

965. The sequencing... the gear.

966. The improvisational aspect of their music.

967. Specially the sort of mid to late 70s period.

968. There was already Tangerine Dream,

969. but they were more focused on live performances

970. with amazing shows in cathedrals and everything.

971. And then they started to work with Hollywood on film scores.

972. And I think that's where the link between

973. synthesizer music

974. and the visuals was born.

975. If we're going back to that, it's gonna be Tangerine Dream.

976. I wasn't into them until the 80s, but they started in the 70s.

977. When my dad first showed me "Thief",

978. the main thing that caught me was the soundtrack,

979. and instantly I was like: "What is this music?"

980. They came out of the 70s

981. but their work on movie soundtracks in the 80s...

982. When I saw "Risky Business" and heard that soundtrack...

983. My favorite is “Love on a real train", I think it's many people's favorite.

984. The 80s were very special musically, in my opinion,

985. because of the synthesizer and how much it was used.

986. The soundtracks...

987. simple soundtracks on synthesizers were amazing

988. and it's just simply because of that instrument gained popularity,

989. through Giorgio Moroder and all those clowns from the 70s.

990. Goblin!

991. Goblin! Absolutely fantastic.

992. The stuff they did with Argento is phenomenal,

993. everything from "Profondo Rosso", "Suspiria"...

994. live drums, live bass, live guitar,

995. live keyboards. All together.

996. It's fantastic! Like a responsive scoring.

997. When you say 70s music, I think Jean Michel Jarre was

998. maybe, by far, my biggest influence.

999. Because that sound he had in the "Oxygen" album.

1000. In the 70s you also had "Kraftwerk".

1001. I liked their track "Radioactivity".

1002. Maybe it's a little bit Synthwave.

1003. Often you find composers, and they are just film composers

1004. or bands and they make albums.

1005. But Moroder and Tangerine Dream

1006. were the first ones to show this model of...

1007. being able to have presence in both worlds.

1008. And for that they are super influential to us.

1009. For me it's a nod to those guys:

1010. Jean Michel Jarre, Kraftwert, all those early electronic guys,

1011. Faltermeyer and Jan Hammer, and those guys... Moroder!

1012. That's what we were doing, That's what I was doing,

1013. paying respect to them, the electronic stuff I grew up with.

1014. People were focused on being more real.

1015. The record labels were signing decent fucking bands.

1016. The radio played good music. That's gone.

1017. What I love about it is that you just don't think about what you're doing,

1018. you just do it by trusting your guts.

1019. And trust me, it might not be original.

1020. There's probably someone before you already doing what you're doing,

1021. but it shouldn't stop you.

1022. All art is like that.

1023. We all emulate someone, every artist imitates something.

1024. Music, movies, paintings, books... All of it.

1025. We take what's already been done.

1026. That's what's so great about Art! It's the human existence!

1027. There you have it, right up in front of you!

1028. Artists put it up there and you can take a little from it.

1029. Just don't take too much and make it your own thing.

1030. Now that we've arrived at the end of our trip,

1031. I have a question for all you synthriders out there listening:

1032. the journey to the past was fun, right?

1033. But, where is all this heading?

1034. I'm still surprised that people ask you questions

1035. for something you did years back and show interest in what you do.

1036. I'm happy if people enjoy the music.

1037. If they feel like I contributed to something.

1038. It'll get bigger to the point where it'll fall into itself

1039. and it'll be super uncool again.

1040. But, how long do we have? Maybe 5-10 years?

1041. Better keep going!

1042. This whole belief of: "Let's stay small and stay..."

1043. Just make music you like!

1044. Stop worrying about what other people are making.

1045. Like... Who gives a shit?

1046. It's definitely changed my life in the fact that I do it for a living.

1047. But it's not just that. I actually love what I do.

1048. We love the music we make. We'd be making it regardless.

1049. But it's pretty obvious

1050. which artists are gonna make it out of the scene.

1051. Notably, those actually playing live shows.

1052. Yeah, absolutely.

1053. Because that's the best part of being in a band: Performing.

1054. You could be an internet band, or be a band and play live.

1055. It's headed pretty steady into becoming mainstream territory,

1056. which actually isn't so bad.

1057. Because seeing where your music ends up in the world is pretty cool.

1058. All we need now is like a Synthwave perfume

1059. and that'll be the thing that takes you back.

1060. I feel you're not really making proper Synthwave

1061. if you are not able to embody the nostalgia in your music.

1062. That's pretty much the key ingredient.

1063. When I'm writing I'm always picturing

1064. that scene from a John Hughes movie

1065. whether everyone's going to school at the opening credits

1066. or someone's leaving the school at the end credits.

1067. There's a certain respect for the 80s, right?

1068. It's not a time period that,

1069. at least currently, people have forgotten about.

1070. The music is still heard on the radio,

1071. the movies are still popular.

1072. There's a nostalgia value that is still alive today.

1073. And that is what, you know, energizes the youth

1074. that might have not been around in the 80s.

1075. I get messages from people that weren't even born in the 80s.

1076. That go: "Wow, you make me miss a period I didn't even know"

1077. "I wasn't even alive then." And that's interesting

1078. because when I did "The Midnight" I wanted to...

1079. whenever it felt too much, I added more.

1080. If you don't like the 80s, you're really gonna hate "The Midnight".

1081. Technically, I was not born.

1082. It's true that

1083. most of those who listen to Synthwave were not born.

1084. So, I wonder how you can be nostalgic

1085. of something you did not know.

1086. For me, the only nostalgia, that would be...

1087. that I thought life was cooler in the 80s.

1088. People seemed less stressed.

1089. Everything was more colorful...

1090. Color doesn't exist anymore nowadays.

1091. It's all gone now.

1092. It's sort of... the collective nostalgia of our generation,

1093. encapsulated in music form.

1094. It's this weird longing for something

1095. that a lot of people might never have experienced.

1096. It's like a misremembering of the past.

1097. Specially if you weren't there.

1098. You're kind of like reimagining things,

1099. convince ourselves that something was this certain way

1100. and then we'll perpetuate that kind of myth.

1101. Maybe we were born in the wrong decade.

1102. I don't expect people, when listen to my music

1103. to go: "Fuck, the eighties were so great"

1104. Because that's not really the goal of my music.

1105. For me the 80s, it's a theme, a tool,

1106. but not the absolute meaning.

1107. But it's true that there are people who come and say:

1108. "It's not 80s enough what you do."

1109. It makes me laugh.

1110. I don't know. They don't get it.

1111. For me Synthwave it's the perfect tool to say: "It was better back then"

1112. But I don't know if it was better, you know?

1113. I don't think so but...

1114. it just music. All of this it's pointless.

1115. You can't explain that.

1116. You want people to listen to it, and if they like it you go:

1117. "It's great folks, we meet in a common place"

1118. Have fun and never forget you are going to die.

1119. End slate!

1120. This is my message to all of you artists standing out there,

1121. in the shadows, behind your computers,

1122. your avatars and your masks.

1123. To the lost boy,

1124. the fearless girl,

1125. the elders and the youngsters.

1126. The ones diving into the past for inspiration

1127. and the ones longing for a future yet to come.

1128. Yes, this is a message for you.

1129. The artist listening to this in your bedroom.

1130. It's true that it's hard to say something new and groundbreaking

1131. that hasn't been said already.

1132. But I believe that people should create what they want.

1133. Create something and put it out there

1134. because no one is going to hear you if it's in your hard drive.

1135. Remember me: Your art can literally change the world.

1136. I'm waiting for it.

1137. Love to you all. John Carpenter.