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In creating his music, Michael relies on "a variation of analog tools in Ableton Live".
#Miami nights 1984 early summer soundcloud tv
His name may be a reference to the Miami Vice TV show and the year it first aired. Miami Nights is strongly inspired by 80's Synth based music such as Tangerine Dream, Jean-Michel Jarre and Lynch. Miami Nights gained international support on international level after his remix of Gotyes' "Somebody I Used To Know". Mikes first project "Actualizer" is noted for defining the Rosso Corsa sound together with label co-founder Lazer Hawk and coined their music Outburn " a genre of music with epic leads and arpeggiated synths". He is the founder of "Rosso Corsa records" a recording company that popularized such artists as Mitch Murder, Lazer Hawk, Jordan F and Lost Years. For those willing to embrace the changes, synthwave is not only alive and well, but thriving.Mike "Miami Nights 1984" Glover is an electronic music artist from Victoria, Canada. At the start of a new decade, synthwave is already bigger and far more popular than ever. While dozens of quality creators are contributing to the second generation of synthwave from within, hundreds of others in indie pop, EDM, alt rock, and mainstream pop incorporate its retro synth sounds into their creative approach and have erased the boundary lines in the process. It’s enjoying more polished and finely crafted creations under its banner than ever before, and it’s undeniably reaching more eyes and ears than at any prior point in its history. Yes, the original form of outrun has become a badlands with little sustenance to offer its visitors, but synthwave itself is arguably healthier than it’s ever been. It’s nostalgia on top of nostalgia, and those albums will always have their place in the synthwave pantheon. Listening to Mitch Murder’s Current Events, for example, puts me in a dreamy haze that takes me back to the people and places in my life when I first heard that recording a decade ago. They’re still here for all of us to enjoy, and in some ways, the magic in them is actually stronger now as they’ve been out long enough to carry their own nostalgia. Outrun electro (and retro electro) were the first commonly accepted names for the genre before synthwave and retrowave sprouted up, and “outrun” remains a perfectly unique identifier for the original sounds of the genre.Īt the end of the day, those early outrun albums aren’t going anywhere. D/A/D, 2013įor those concerned about the older style losing recognition, it’s worth remembering that the early music still has its own unique name: outrun. That moment has faded from the universe and the magic is gone. The reality is that synthwave from the late ’00s to the mid ’10s captured a very specific moment in time, a moment when the childhood memories of its creators from the 1980s were vivid and still had a strong, tangible emotional pull. A moderate number of other respectable artists did well through the middle of the decade, though even they now seem to be in decline. The quality of Kavinsky’s music was debatable when it was new, and MN84 disappeared at a creative peak almost a decade ago. Perturbator has creatively distanced himself from synthwave for years. Mitch Murder entered a long, steady decline following 2014’s Interceptor.
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Lost Years never fully recaptured the spirit of 2012’s Amplifier. Those releases had an inspired songwriting spark and authentically nostalgic charm that have gone missing from new releases in the genre, including music from the same creators. Or, let yourself get pulled into the immense magic and imagination of Le Cassette’s entire Left to Our Own Devices album. If you don’t believe it, take a moment to revisit songs from the early era like Miami Nights 1984’s “Early Summer,” D/A/D’s “Backbone of the Night,” and Mitch Murder’s “Midnight Mall” (or really, anything from the first four years of Mitch Murder’s catalog). Synthwave - as it could be understood from roughly 2008 to 2015 - has become a wasteland. There are, of course, plenty of valiant efforts being made to keep the music alive, though the honest listener can acknowledge that the likelihood of another great album manifesting at this point is nearly non-existent.
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The archetypal sounds of the genre are gone, a fading snapshot of nostalgic music pining for a decade that began 40 years ago. The recordings that defined the heart and the soul of synthwave from creators like Mitch Murder, Lost Years, Miami Nights 1984, and Lazerhawk feel like a distant memory now, and returning to those early albums - with all their incredible magic and imagination - simply drives home how disappointing creations in a similar style have become. Anyone following the genre closely has seen it coming for years, and it’s very difficult to feel surprised by the music’s current lifeless state.