Take a trip back to the ’80s in DreamKid’s dynamic synthwave self-titled album – Texx and the City

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Meet DreamKid – aka Ryan Morris – who is steadily doing his bit in keeping the beating heart of retrowave, well, beating. His self-titled debut album hit the airwaves recently and it’s every bit as nostalgic as you might expect. He crafts a specific sort of synthwave, which straddles the millennium hurdle with unexpected grace. 

DreamKid keeps things varied and pacey – in keeping with a debut style which flexes everywhere it can. To begin with, the album channels quintessential bubblegum pop synth – all light, summery, unmistakably retro synth hooks. But five tracks in and the album takes a darker turn – and really, that’s what kept things interesting. 

While opening track “Restart” keeps things fuzzy and simple, “America” pulls on neon pop proclivities, and “Revenge Boy” actively milks the nostalgia – the turnaround point hits when “Fatal Attraction” rolls in. Clocking in at six minutes, it pulls no dramatic punches as it gains momentum. 

“Game Over” follows in similar form, pivoted off a gutteral drop, and “Officewave” keeps things shadowy and fibrillating as it pulls on the Mitch Murder-esque trappings of old school retrowave. Then “Hearts Don’t Beat The Same When They’re Hurting”, which comes along with a rollicking music video, keeps things quintessential, before “Parents” gets personal and wraps things up. 

Where DreamKid might fall short lyrically and thematically, he more than makes up for with slick, spruced production, dripping in nostalgia for decades gone by.

Feature pic supplied by artist

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