Le futur existait déjà dans les années 80, un futur à l'image de cette décennie charnière
entre 2 mondes, 2 époques, assurant le passage de l' analogique au digital, de la cuisine traditionnelle à la nouvelle cuisine, de l'électrique au synthétique, comme un trait d'union entre passé et avenir entre ancienne et nouvelle technologie ! le son RETROWAVE se fonde sur la nostalgie de jeunes compositeurs qui rêvent d'une époque qu'ils ont à peine connue, mais que néanmoins, leurs imaginaires réinventent en permanence. 

Un futur rêvé, stylisé, plein de villes en néon qui s'illuminent de mille couleurs à la nuit tombée, de couchés de soleil sur des piscines rooftop entourées de palmiers en plastique et de voitures aux lignes affûtées dans lesquelles se reflètent les bikinis fluo des starlettes permanentées et boostées à l'aérobic qui les dépassent en patin à roulettes électriques, walkman sur les oreilles. Un futur certes ! mais rétro, interprété par une musique synthétique, urbaine et mélodique, une musique pour rêver et se dire que le futur des 80's c'était tout de même autre chose que celui d'aujourd'hui. 

The future was already in the 80’s , a future in the image of this changing decade. Between two worlds, two times, ensuring the transition from analog to digital , traditional and new kitchen , electrical to synthetic , as a link between past and future, between old and new technology ! The RETROWAVE sound is based on nostalgia for young composers who dream of a time they barely known, but nevertheless , their imaginary reinvent constantly.
A future dream , stylized, full of neon cities light up of thousand colors at night , of sunsets on rooftop swimming pools surrounded by palm trees and plastic cars with sharp lines which reflect the neon bikinis starlets permed and boosted aerobics that exceed electric roller skating , walkman on the ears. A future of course ! but retro, interpreted by a synthetic urban and melodic music , music for dreaming and saying that the future of the 80's it was still something else than today .


Light Years - Droid Bishop

Red   Flowers - 1 - 2.223

Ultimo

Resurrected Streets

Here's for you galactic lot! Today is the day when the new single from "This Means War" is released - introducing "The Bomb"!

The Bomb was composed, performed, mixed and mastered by Volkor X.

Spoken words on "The Bomb" taken from Attack From Space (film, 1964). Koreyoshi Akasaka, Teruo Ishii, Akira Mitsuwa (directors), Mitsugi Okura (producer), Ichiro Miyagawa (writer).

This Means War

The Bomb

Buy, OR DIE !

Airstrip

@sofrenchrec presents the brand new release 'Ombre Ep' by his talented french artist, Steige!
Let yourself transported by this brillant ep 'Ombre', a dark and haunting title that will take you through the darkness. 

Steige - Ombre (Absolute Valentine Remix)

Time Runner

buy: https://konradcelinski.bandcamp.com/track/take-off
youtube: https://www.youtube.com/watch?v=0sapmFbvQNo
instagram: knrdcelinski
contact: konradcelinski@gmx.com

Konrad Celiński - Take Off (available on Bandcamp - link in description)

Oceana

Spotify: https://spoti.fi/3ezMUFp

Instagram: https://bit.ly/2RMNl58

Benny Smiles is an Irish synthwave/retrowave producer based in London. Favouring electronic instruments, vintage synthesisers and drum machines, his most recent work nods to M83, Neon Indian, and Com Truise. Think Stranger Things / Drive / Hotline Miami soundtracks and you’re most of the way there.

“When We Touch” marks Benny's fourth release, and is the first single from his forthcoming “Fearless Leadership” EP. It follows the "Hotline Miami 2 EP”, which is featured in the cult video game Hotline Miami 2 and in Spotify’s Retrowave / Outrun editorial playlist, both of which have helped to garner an international audience and more than 5 million streams of the EP across various platforms.

Benny’s latest material follows a period of focus on his work in studio engineering, building his knowledge of old school recording techniques and equipment in some legendary recording studios, and learning first hand from some of the world’s most renowned record producers, songwriters, and artists. Having cultivated a collection of vintage analogue synthesisers and audio processors along the way, he now returns with a newfound appreciation for sonics, analogue imperfection, and the soul that lives in electronic instruments.

Prompted by the tongue-in-cheek artwork, the most pressing question about the Fearless Leadership EP thus far has been “is your face really that small?” And the answer is... it could be.

Benny Smiles has supported artists including London Grammar and Ghostpoet, and performed at festivals including Electric Picnic, Indiependence, Castlepalooza, and Ireland Music Week.

Fearless Leadership

When We Touch

Benny Smiles is an Irish synthwave/retrowave producer based in London. Favouring electronic instruments, vintage synthesisers and drum machines, his most recent work nods to M83, Neon Indian, and Com Truise. Think Stranger Things / Drive / Hotline Miami soundtracks and you’re most of the way there.


“When We Touch” marks Benny’s fourth release, and is the first single from his forthcoming “Fearless Leadership” EP. It follows the “Hotline Miami 2 EP”, which is featured in the cult video game Hotline Miami 2 and in Spotify’s Retrowave / Outrun editorial playlist, both of which have helped to garner an international audience and around 5 million streams of the EP across various platforms.


Benny’s latest material follows a period of focus on his work in studio engineering, building his knowledge of old school recording techniques and equipment in some legendary recording studios, and learning first hand from some of the world’s most renowned record producers, songwriters, and artists. Having cultivated a collection of vintage analogue synthesisers and audio processors along the way, he now returns with a newfound appreciation for sonics, analogue imperfection, and the soul that lives in electronic instruments.


Prompted by the tongue-in-cheek artwork, the most pressing question about the Fearless Leadership EP thus far has been “is your face really that small?” And the answer is… it could be.


Benny Smiles has supported artists including London Grammar and Ghostpoet, and performed at festivals including Electric Picnic, Indiependence, Castlepalooza, and Ireland Music Week.



INDUBLIN.IE: “First [at Hard Working Class Heroes festival], to the Workman’s Club for one-man electro wonder machine Benny Smiles. Infectiously upbeat loops, guitar, and Bowie-esque vocals, with the occasional healthy dose of slap bass was warmly met by the crowd. Yet it was Smiles’ stage presence that really endeared him to those present. Informing us early in the set he had foolishly taken a valium to help fight off a flu; if he is this good when sick and under the influence you can only image how good he is when on top form. A definite highlight of the festival, how this guy isn’t already huge is a mystery.”

 
GOLDENPLEC: “[Somehow Yours Do] is a beauty of a track with hypnotising synths and a captivating video”

 
NIALLER9: “Benny Smiles has given me one of my favourite tracks of the last month already with ‘Sunday Morning’”

 
PUFFERFISH: “Playful, fun, fucking awesome… Benny Smiles is making funky electronic music that you can really enjoy. And we mean really enjoy.”

CHASSEUR MAGAZINE: “Benny is by far the most charming, energetic, addictive, unique and pleasurable acts of the [Hard Working Class Heroes] festival so far. He asks everyone to take “seven steps forward” and then proceeds to move and shake across the stage, never missing a note. The audience are in the palm of his hand throughout, truly captivated by his inescapable talent, showing many of the bands how it is done. Industry execs must be salivating at the prospects he presents.”

 
HOTPRESS: “‘Moonlight’ featuring Ham Sandwich’s Niamh Farrell is radio-friendly whimsy at its finest. Known to his postman as Ross Fortune, this shapeshifting musicmaker has covered a whole lot of musical ground…barely stepping a foot wrong”

 
GOLDENPLEC: “With [Sunshine / Moonlight] Benny Smiles shows that he is a diverse and talented artist. His willingness to use different instrumentation and sounds results in tracks that are varied and unique and aurally tantalizing. It is solid proof that he doesn’t have to rely on novelty to grab an audience’s attention.”

 
AOIFE MC RTÉ 2XM: “[‘Sunday Morning’ is] definitely, definitely my favourite of the whole podcast [Nialler9 Podcast 39]…it’s so much fun!”


bennysmilesmusic[at]gmail[dot]com

When We Touch

Benny Smiles

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