Speedy Wunderground – A ten-point plan

1. Speedy Wunderground is a new label which begins on February 25th 2013 with the release of “I Go Out” by Steve Mason & Emiliana Torrini.

2. Speedy Wunderground is the idea of producer Dan Carey. Dan will produce all releases. All records will be recorded at Dan’s South London studio. Dan has previously produced Franz Ferdinand, Bat For Lashes, TOY, Willy Mason, Django Django, Emiliana Torrini, The Kills, Chairlift and Steve Mason.

3. Recording of all records will be done in one day and finish before midnight. The recordings will be a snapshot of the day. Mixing will be done the day following the recording, also in one day only. This will prevent over-cooking and ‘faff’.

4. There will be no lunch break during recording and mixing days.

5. Overdubs will be kept to a minimum allowing the recordings to be free of clutter.

6. The recordings will appear in limited runs of two hundred and fifty 7”s, which will be in the shops as soon as humanly possible following their completion.

7. The core of each song will be a live take recorded in the dark with smoke and lazers and somewhere on each record the Swarmatron – http://www.youtube.com/watch?v=iJyub78p924 - will make an appearance.

8. Speedy Wunderground work quickly. There will be as a little delay as possible between recording and release. Speedy Wunderground records will not sit on the shelf gathering dust waiting to be released.

9. Speedy Wunderground will release each year’s recordings as a compilation at the end of the year.

10. Speedy Wunderground Records will not be slow.

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LNDN DRGS
Vocals by Jay Worthy
Produced by Sean House

Miami Nights 1984 is Michael Glover from Victoria, BC, Canada. His obsession with the 1980s has led to the founding of Rosso Corsa Records and a revival of synthesizer music. With Rosso Corsa he is championing many artists such as Mitch Murder, Lazerhawk, Jordan F and Lost years to make 1980s-inspired music with modern fidelity.

Being among the pioneers of this revival, Mike’s first project Actrazer initially defined the Rosso Corsa sound together with output from label co-founder Lazerhawk. They coined their music Outrun, a genre of soundtrack music with epic leads and arpeggiated synths. At the same time, Kavinsky, the Outrunners and the Valerie Collective were all contributing to this new sound.

Since 2010 Michael Glover has been ecstatic about the success of his second project known as Miami Nights 1984 (MN84). Characterized by smooth synthesizers and nostalgic solos, this new sound accentuates the carefree feel of the 1980s.

The Miami Nights sound garnered support on an international scale with the official remix of ‘Somebody I Used To Know.’ by Gotye. It infuses 1980s charm with Gotye’s powerful voices and moody lyrics. Rollings Stone says it’s an “eighties-inspired synth-pop remix, inspired by [mike's] love of old John Hughes films” while VH1 says “It’s a synth-led 80s redux, and it’s pretty rad”

When asked about influences, Mike says he obviously takes from the 80s: “The music, movies, shows, cars and girls are all running through my imagination when I write a piece of music. I’m not happy with a piece of music unless I can imagine it as the soundtrack to a film or show. Ever since I was a child I enjoyed synth-based music like Tangerine Dream, Jean Michael Jarre and Ray Lynch.” His name coincides with the original run of the Miami Vice TV show on September 28, 1984.

In creating his sound he uses “a variation of analogue synths and virtual instruments in Abelton Live. I’ve been using more virtual instruments for convenience and ability to leave a project without worrying about getting the same sound again.” Many of the parts are first recorded from live instrumentation and tweaked afterward in Ableton.

Building on the successes of Rosso Corsa Records and an official Gotye remix, Mike released the second Miami Nights 1984 full length album Tubulence. Spanning 12 tracks, Turbulence builds upon the synth-pop charms and synthesizer solos from Miami’s first album with more character: orchestra stabs, percussive rushes, slow motion bends and epic interludes distinguish the album. So does the album’s more intense moments which promote the Outrun electro sound we have championed for many years.


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