“It was the year 3218. Life on Earth has changed. The era of transhumanism was upon us. Extreme breakthroughs in human augmentation led the Earth's nation into a frenzy. The transhumans were starting to attack the humans in an attempt to purge the nation believing that humans were lower lifeforms.

One of the breakthroughs in genetic engineering made by a mad scientist was considered too dangerous for further research, but rather than destroy his work, he secretly continued his development not knowing that his action would create the world’s most famous vigilante.

The mad scientist was combining the power of FM synthesis with the power of the human brain. One day, many years into the research, there was a complication in the secret laboratory and instead of adding the FMs to the brain in a separate capacity, the mad scientist accidentally merged the FMs and the human brain, creating a monster with telepathic and telekinetic abilities.

Once upon a time, he was a musician, but now, he is the anti-hero who is trying to save the world of a dystopian future. His name is Lord of Synth.”

With this plot summary, Isidor Bobinec sets the stage for his vibrant new release, Lord of Synth. This release – 11 tracks of electronic eargasms designed to make your ears and your mind detonate (in a good way!!)– is a total game-changer for the synthwave scene. Mass Effect, eat your heart out. Seriously. The atmosphere and the science fiction urgancies contained within this release beam like green lasers over a power grid of sheer blue neon. And the entirety of the release operates like a beacon of hope for the genre.

Make no mistake, this is an epic statement from an artist who is only getting started. Where Isidor goes, I will follow.

Lord of Synth is the boundless soundtrack to the 1980s science fiction epic that never was. The music might be better than the movie, mind you. Because that’s how good this composer is. With its story in place, Isidor’s score rockets to the stratosphere of a future dystopian nightmare – where panic and punk come together – before returning us safely back down to the ground again.

“Power Starter 3000” get the adventure started with a thundering wash of electronic sounds. For a few seconds, there is only this. And then the beat drops and pounds its way into our skull. Heaven must sound like this. And just when you get comfortable, Isidor lifts us even higher with the main melody of the track. Holy shit, fellow travelers! Here is where his classical chops come in handy; these fucking keys are on fire as his pulsating synths gleam the cube alongside our ascension into space.

Quick and bouncy, this is EXACTLY the right tune to kick off this release. Welcome aboard! Don’t get comfortable.

Eerie synthwave tones get schooled in “Turbo Dance” as Isidor flirts with Carpenter-esque electronica before sabotaging all expectations with a dual-layered synth attack that just doesn’t quit. Melodies are layered and minds are blown. Complete with handclaps and a theme within a theme, this complex arrangement provides listeners with a chance to see just how truly cinematic and otherworldly Isidor’s skills are at offering mood and mayhem. It is both rhythmic and Bill & Ted-worthy of its righteous proclamations as the song shakes the outer crust of what’s left of Isidor’s imagined futureshock.

I can’t stress how important Harold Faltermeyer’s work in the 1980s has been on this genre. He is a grand master of sorts and, from what I hear in the beginning moments of “Hard Target”, Isidor seems to acknowledge his influence. While Isidor’s song certainly extends above and beyond what Faltermeyer did on Beverly Hills Cop, this track – at least before it knocks us into orbit with its spacey groove – feels like an updated take on “Axel F” and, honestly, it might be the point. We have our theme, Space Chumps.   Ya dig?!

What follows with “Neon Owl” and “Team Vice” are explosive sounds that emerge rather cleanly from an electro-rock cloud with Jan Hammer-like pulses. Once again, Isidor reaches deep and pulls out two massively rocking and reflective pieces of music that push borders with their production and intricate arrangements. Scores rarely get this detailed, but Isidor’s production knowhow is top-notch and the proof is in just how damn moody these two tracks, steaming their way toward a conclusion, operate.

And then we get “dirrrty” all over again with the electronic filth of “Cyber Creator” and “Touch the Sky 2” where rapid rhythms have their way with listeners, leaving us ass up and out of breath. Hidden killers, they are as both start out distant and curious and then, expanding with each new beat, simply go for the jugular. But, honestly, synthwave riders like me LIVE FOR THIS. Each electronic squelch and squeal; each descending beat; Isidor gives us everything, exhausting both himself and us as these two companion pieces’ end.

Voices rise up from the distance in “Silver Highway” and, as seen through some old school visors, this track is a luscious treatment of some pretty heavy retro-inspired funk. It is a classic-sounding song to put so deep in the mix. It works, though. Energetic to the last, it is this track that will seal the deal on just how unique and tasty Isidor’s mad skills are at delivering the goods. Dance grooves are rarely this damn nonstop.

But, wait. The keys are just in the ignition. Quite literally, too, as “Intercept” gives us the slide and the glide of a chase sequence in this imagined movie. Complete with voices, a car engine, and all sorts of electronic bedazzling, this track kicks a whole hell of a lot of atmospheric ass as it starts our hero off on his or her destination. This driving (X) Force idea continues with “Pathfinder” as the sci-fi pressure in this cinematic potboiler builds and builds; Isidor doesn’t rest until the final few seconds echo into the beyond.

The final track, “Dystopian Love”, is the Vangelis moment we’ve been waiting for. Electronic soundscapes – as sounds of earth begin to settle in – are rarely this tangible. But you can hear and feel the soul in this storied song actually breathe and, for me, that means everything. Let nature back in and feel every drop of rain. Isidor has what you need.

Lord of Synth, when it is at its final moments, connects us with humanity in a way I didn’t think possible for the genre. Everything feels in its right place and, at its conclusion, you too will feel at peace. Just sit and listen as the closing credits roll. There’s nothing more important that you need to doing than just listen.

Isidor has done it again.

Artwork by Adam (Wacko) Rakic

Recorded, mixed and mastered by Isidor Bobinec

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