Swayze is a synthwave/funk project by an unnamed producer from New Orleans, Louisiana. Swayze first burst onto the scene in April of 2019 with his single “Overdrive.” Since then he has released three other singles, “A Little Story,” “Your Love is Like a Lone Wolf,” and “Sidewalk,” all of which are prominently featured on his recently released debut album entitled “The Beginning.”

On the cover is our producer-hero standing in front of his trusty Roland Juno-106. He is surrounded by all sorts of nostalgic Patrick Swayze memorabilia, including movie posters from “Roadhouse,” “Dirty Dancing,” and “Point Break.” There’s also a rogue vinyl of Prince’s “Purple Rain” sitting right next to a VHS copy of “Ghost.” It’s pretty clear to me that the producer Swayze holds Patrick Swayze in high regard. Patrick Swayze is not only Swayze’s muse, he represents a way of life for this producer. And let’s just be real, who can blame him? Patrick Swayze belongs on Mount Olympus with all of the other gods for the tremendous work he did (especially in Roadhouse) during the 1980s and early 1990s. The man had an amazing career. It’s a goddamn shame we lost him so soon.

The one thing that blows me away about “The Beginning,” is the fact that it is a debut album. Even though all of the singles were previously released over the course of about a year and a half, having all of those songs–as well five new songs, in one place feels good. I know that some people in “the industry” might not agree with taking that approach of re-releasing singles onto an album later down the line, but I happen to feel that it’s a perfectly acceptable strategy to help grow an audience.

From a production standpoint, “The Beginning” is very retro sounding. I spent a good deal of time listening to this album outside while working out. My weirdo neighbor even popped her head over the wall in my garden just to tell me that she “listened to this when she was younger.” I replied “isn’t it wonderful?” instead of calling her out on her bullshit. It’s telling that a complete stranger to Swayze’s music can pick up on a general vibe that has permeated through a few generations.

I’ve really tried to sit down and identify possible oversights on “The Beginning” that give it away as a postmodern interpretation of that familiar 1980s vibe, but outside of the overall loudness of the album, it’s difficult for me to find one. I did notice when played back on my stereo system that the vocals on “Sidewalk” were a lot more pushed back into the mix than your average 80s track, but not to the detriment of the song. So aside from the loudness and the vocal production on “Sidewalk,” “The Beginning” feels genuine.

The highlights of this album include the blazingly epic title track, the post-Motown tribute “Nothing on Me,” and the charmingly romantic “Oh Jenni.”

To me, the title track rounds the album out with a small taste of what’s to come. This song leans a little more on a darker sound, but not so much so that it was making me want to pull my eyeliner out. It sounds groovy and triumphant. This is Swayze’s proclamation that nothing can kill his funky vibe, no matter what.

“Nothing on Me,” is my favorite cut from “The Beginning.” This was the song that really channels “Thriller”-era Michael Jackson. This song really made me smile, because I feel like it accurately captures that youthful hearthrob sort of feel. This song is passionate and genuine. Swayze’s vocal performance here comes off as effortless, almost like they were done in one continuous take. There’s so many small details that paint a bigger picture in this song. Couple this with a lot of musical interaction between Swayze’s vocals with the rest of the music and you have a recipe for one hell of a song.

“Oh Jenni,” is interesting primarily for it’s lyrical content. This is a song that appears to be a love letter to Jennifer Grey and the relationship she had with Patrick Swayze himself. In a way, it’s sort of spine-chilling, primarily because I get the feeling that the producer Swayze is somehow communing with the actor Swayze from beyond the grave. Either that or Swayze is Patrick Swayze’s living avatar. As far as how the song sounds it’s textured, slow, and romantic. I’d honestly like to hear an unplugged version of this song. Hey Swayze! Play us an unplugged version of “Oh Jenni” if you ever decide to stream. Then tell us a story. You know–about a girl you knew.

Overall, “The Beginning,” is a solid debut and in spending a lot of time with the album over the last week, it has a lot of replay value. I appreciate the attention of detail Swayze and his production team gave to this album. This is well EQed, Juno infused, TR-808 conga using, vigorous kind of music that uses plenty of reverb and the right amount of tasteful compression that lovingly massages the multiple sounds going on here. There’s so much vibrant youthful energy in this release that will appeal to nearly everyone. Especially ancient vampire ladies like myself.

Please check this one out, because “The Beginning” is the direction retrowave should be going.

Album Color Profile: #FF1744

STAND-OUT TRACKS: “The Beginning,” “Nothing on Me” (my favorite), and “Oh Jenni.”

RECOMMENDED FOR: Funky retrowavers looking for a positive feel good release that fucking bangs.

WARNING: this album might compel you to throw your panties at the stereo.

You can find all things Swayze at https://swayzefunk.bandcamp.com/

Kushna is a newer retrowave producer from India. 2020 has certainly been his year as he’s produced a slew of really catchy singles. In addition to this, he’s also released a full-length entitled “Retrodise.” It came out on June 2nd, 2020.

I’m going to come out and say that this is definitely an album that you shouldn’t judge by it’s cover. To me, the cover embraces some really common Synthwave tropes. We’ve all seen this type of thing frequently in the last few years, and for all intents and purposes I think that “Retrodise” would’ve benefited greatly from a different type of visual to accompany the music here.

Despite my personal issues with the cover artwork, I think that “Retrodise” is a wonderful album. I tend to think that it musically lies somewhere between proper darksynth and more soundtrack based Synthwave. There are a lot of really great ideas here that really tap into the exact type of moody epic vibe that brought me to love Synthwave as an artistic medium in the first place. The production value on “Retrodise” is really clear due to it being properly EQed and made tight with strategic conscious use of light (and sometimes sidechained) compression. I suspect that Kushna spent some time producing music in other genres as “Retrodise” has a modern EDM vibe. If I’m wrong about this, then he has a lot of natural talent for this type of thing. Regardless, “Retrodise” reminds me of a cross between 16-bit VGMs from the 1990s, Jan Hammer’s work on Miami Vice, with a slight raga flavor that makes it stand out amongst the hundreds of hours of Synthwave that I’ve subjected myself to so far this year.

I think that “Retrodise” opens up strong with the arpeggio leaden “Deep Love.” This song is spacey, futuristic, and catchy. It’s also is very neutral in terms of energy. It’s not particularly light or dark sounding, but it definitely has aspects from both sides of the spectrum. “Dream” further highlights Kushna’s talent for constructing great sounding arpeggios. Again, like “Deep Love,” “Dream” reaches Daft Punk levels of spacey with a pseudo-“TRON Legacy” vibe crossed with mid-nineties CD-ROM based VGMs. “Endless” was my favorite cut from “Retrodise.” The visuals that my brain created whilst listening to this song were akin to something you might see out of a moody Neo-noir film complete with streetlights sporadically shining across the face of a lonely night driver just looking to make something of his/her life. The acoustics of the woodwind pipe sound on “Endless” is absolutely beautiful and really unconventional.

Overall, “Retrodise” is a highly enjoyable listen. This release completely blindsided me, and it’s a goddamn shame that more people haven’t checked it out. If you have an affinity for well-crafted and thoughtful Synthwave with a digestable and slightly different vibe, please check out Kushna’s work. It’s one of my favorite albums this year.

RECOMMENDED FOR: Anyone that loves going for a long night drive along the coast on a hot Summer night.

Stand-Out Tracks: “Endless,” “Deep Love,” “Dream,” and “Beautiful.”

Album Color Profile: #FF1744

You can find all things Kushna at https://kushnamusic.bandcamp.com/

Alex Vecchietti is a synthwave producer from Palermo, Italy. He is also a co-founder of RetroReverbRecords which features a rather eclectic mix of synthwave/darksynth artists. In a word, the man is BUSY. It’s no easy task to help manage a record label, maintain a presence on social media, and produce music. Somehow though he still pulls it off.

“The Good Fight” is Mr. Vecchietti’s debut album and came out in late January after the release of two singles, the first being “Child” in November 2019, followed by “Mystery of Faith.” Production wise, the album is quite listenable. I think a lot of care was made in the mixing process to make the album accessible to everyone. The song structures here are solid too, and follow the basic intro, verse, prechorus, chorus strategy that really works for this kind of music. The thing I like the most about the production quality here is that there’s never more than four or five different elements of music going on at once. This provides a fair amount of clarity which trades atmosphere found in traditional 1980s styled synthwave releases for a concise and modern sound.

Mix wise there’s a lot of good use of stereo panning that gives “The Good Fight” just enough space to make it feel three dimensional. Alex tends to prefer mixing his guitars or pads offset (roughly 80%) to the left or right while keeping the kick and snare centered with the low end. Speaking of which, I quite like the low end on “The Good Fight.” It is very similar to something you might find on a darksynth album. I think that this album was EQed to highlight the lows in an effort to allow Alex’s double tracked (or ADTed) vocals to clearly cut through the mix. My only real complaint with the mix lies in the lack sibilance and transients in Alex’s voice. They are EQed, compressed and/or cut REALLY hard in the 7kHz-9kHz range. This takes some of the energy away from his performance, and is distracting to me at times. That said, I think that his vocals are still enjoyable thanks to a hefty amount of reverb being sent back into the mix. Generally though, working with double tracked vocals can be difficult, especially with tenors like Alex, so I understand why the vocals were handled in this way.

Lyrically, I do have to note that this is definitely not going to be everybody’s cup of tea. Many of the songs on this album lean very heavily on a Christian/devotional theme. That said, I think that it works for what Alex is doing on “The Good Fight.” He’s certainly passionate about what he’s doing. It’s just a matter of whether or not this type of thing appeals to you. Personally speaking, I am definitely NOT the target audience for this type of music, but I think there are people out there who will really enjoy this.

RECOMMENDED FOR: People who like well-produced modern Synthwave and Christian devotional music combined together.

Stand-Out Tracks: “Live the Light” (this is the catchiest song on the album), Neon Town (feat. Kumiko25),” “Falling into Eternity.”

Album Color Profile: #FF1744

You can find everything Alex Vecchietti at https://alexvecchietti.bandcamp.com/