The final ten months have seen many artists pivot, experiment, department out and usually direct their attentions to different musical areas.
To group the most recent longplayer from Roger Shah in that although could be to miss a musician who already album-moves out of ‘his lane’ one 12 months in each two.
Whether or not it’s by neo-classical soundtracks for yet-to-be-made movies (ala final 12 months’s Guardian Of Goals) or yoga & wellbeing albums, Roger’s as common an irregular as they arrive.
Forward of beginning his newest departure, Roger was as clear as to what he didn’t need, as what he did. For its focal decade ‘Nightride’ trades in touchstones, inspirations & affections, while hurdling the pitfalls of pastiche & extra. Eschewing out-and-out synth-synthetics, throughout it fourteen tracks, resonance, chime and echo turn into its basis blocks.
Consistent with that almost all emotional of many years, the album tonally needle-swings between moodsome shade, mellow drama and exuberant effervescence. All through are realizing & appreciative nods to varied 80s sub-genres – synthwave, electro and uncommon groove amongst them. ‘Nightride’ gives a mode-ish glide by notes of Vangelis, Faltermeyer, Clarke, Hancock & Hammer (Jan, relatively than MC!), all projected by filters now extra related to Disclosure, Daft Punk and M83.
On the album’s vanguard, you’ll discover the sci-fi-scaped ‘Classic Goals’ – an overture with retrofuturistic implants and marked out by its fastidiously warped, dystopian synths. Shadowing it’s ‘Nightride’s title monitor – a dramatic 808-snared standout, whose neon parts and vocoded pulse advance the album’s afterhours really feel. Refusing to handle expectations, Roger drops ‘Firebird’ subsequent – a slick six minutes of excessive gloss 80s reflection, laced with refined however unmistakable echoes of Moroder’s ‘Scarface’ rating.
Vocals are extra incidental to Jukebox 80s’ system, however after they do happen, Roger once more ensures they echo relatively than decade-pander. On the beautiful ‘Stronghold’, Eve Belle strikes a tremendous line between the uplifting choruses of Belinda Carlisle and the brooding verse of Susanna Hoffs. ‘Sure’ options New Zealander Jackie Bristow and brings a uncommon groove-like bounce to its b-line, alongside a knowingly up to date really feel to its tune. With a vibe much more elevating than its title suggests, ‘Good day Goodbye’ in the meantime has extra of a Laura Branigan zip to its vox.
As reflective as any mirrored-windowed skyscraper, the robo-soul of ‘Purple Skies In Your Eyes’ brings the vocoder again, whereas its analogue synths allude to The Human League. ‘Ripped Knees’ heightens ‘Nightride’s ambiance once more, however lowers the tempo, utilizing its extra measured tempo to stretch the synth traces and amplify the emotion. In an album flush with bass, ‘Don’t You Say You Love’ pares the decrease frequencies again to focus on chime, whereas its Jody Watley-like vocal goals straight for the soul. By means of ‘A Spaceship Touchdown On A Magic Island’, Roger effortlessly hyperlinks Jukebox 80s’ theme and his extra famend Balearic sound. Half Arthur Baker, Herbie Hancock & Daft Punk, the electro rock of ‘I Don’t Give A Rattling’s ties the album off with seven funk fuelled minutes of needle scratching, synth riffing and bass dropping.
A flashback to the last decade that – electronically – birthed all of it, ‘Nightride’ is much less huge hair, towering hi-fis, & automobile doorways with ashtrays and rather more neon, Rubiks & TDKs. Stripping away the surplus and getting proper to the digital coronary heart of it, it’s out there to presale/save from at present, HERE.
01. Getting into The Jukebox Time Machine (1:57)
02. Classic Goals (6:17)
03. Nightride (6:15)
04. Firebird (6:20)
05. Stronghold (6:12)
06. Daytona (4:58)
07. Sure (with Jackie Bristow) (5:19)
08. Purple Skies In Your Eyes (5:39)
09. Good day Goodbye (5:48)
10. Your First Arcade Recreation (5:54)
11. Ripped Knees (5:17)
12. Don’t You Say You Love Me (5:58)
13. A Spaceship Touchdown On A Magic Island (5:48)
14. I Don’t Give A Rattling (7:02)