Baldocaster returns with Mirage, a follow up to Moonrise
Lazerdiscs recording artist, Baldocaster, once again ventures into the outer realms of galactic imagery and soundscapes. His newest album, Mirage, will be available on 28th February 2020 on a variety of platforms. He is even hinting at a limited quantity, physical copies, run of the album.
Mirage is FFO of the expanding synthwave genre, and features ten original tracks of electronic music. While keeping true to the roots of the musical movement that blossomed into mainstream existence several years ago, Baldocaster continues to develop his own unique voice. Utilizing easily memorable melodic snippets, with multiple layers of synth textures and groovable beats, Baldocaster crafts an enjoyable listening experience.
Fans of the abrasive dark synth genre may find Mirage a tad on the saccharine side, but the album is far from soulless pop fodder. Imagine that you, the listener, could drive a white 1986 Ferrari Tesstarosa around a moon base in the year 2069, with a bevy of spandex-clad aerobics models in the seats next to you. You would keep a copy of Mirage, preferably on CD, a finger’s touch away in your Panasonic five-disc carousel, and the space waves would keep you cruising all night. That’s what Baldocaster’s Mirage is in a nutshell.
Slickster: Can you detail a few areas in which you have most developed musically between Moonrise and Mirage?
Baldocaster: I definitely tried to make all of the parts evolve, ebb and flow more. The palette of sounds is wider too. I was employing more interesting tones, including some digital stuff like a DX7. Overall the sound has gotten a bit more modern and French I think.
Slickster: Would agree with the scientific fact that you’ve far surpassed the musical skills of Caspro by at least a minimum of 12 parsecs?
Baldocaster: False. Caspro is a master of illusion celebrated far and wide.
Slickster: In your opinion, what is the current state of synthwave, and where do you envision it heading in the 20’s?
Baldocaster: It seems to have broadened into quite a few sub genres with different trajectories. I know everyone is slowly moving away from the initial 80s outrun feel that got us all into it at the start. I’ve personally always enjoyed the more fringe artists who blend lots of disparate elements. I think each of these directions are going to keep pushing further into newer things.
Slickster: Mirage opens with the track ‘Canyons’, with ice-like timbres and slick beats. When in the writing process for the album did this track manifest, and how did you compose it?
BC: Canyons was actually the very first song I wrote for Mirage. It definitely set the tone and style as I went forward on the other songs after. I had the main riff and melody in an entirely different version of the song that was much more like my first album. But it just didn’t excite me at all, doing something so similar. When I was messing with newer clean and hard hitting drums the main riff just came back and I rewrote the whole thing pretty quickly!
Slickster: Do you find that you tend to compose melodies, beats, or chord progressions first?
BC: It pretty much always about finding or crafting an inspiring sound for me. Then I’ll write a part to make use of that. I usually start with some sort of riff – a sequence or bass part, then I’ll come up with a compelling chord progression and mold it to that. Before Dawn started similarly except the chords came first.
Slickster: The majority of synthwave music falls firmly into a 4/4 time. (Editors note: that means four beats to a measure, with the quarter note getting one full beat). Is this limiting for you in terms of composition, and do you ever try to break out of the “four on the floor” kick drum doldrum?
BC: I don’t really stick to that myself but the feel of 4 on the floor has certainly got power. I like the contrast different rhythms and grooves against it to accentuate the impact that the driving rhythm can have. Even if you’ve got the drums in straight quarter notes lots of interesting stuff can happen with other instruments being syncopated. I’ll throw in a bit of odd meter on some songs if it feels right. The goal there is usually to make it so nobody even realizes it’s something strange.
Slickster: In your previous interview with Slickster, you said, “Respect the moon.” Do you still respect the moon, or do you now disrespect the Earth’s O.G. satellite, and find yourself giving shoutouts to other celestial objects?
BC: Haha! I mean, the Moon is a wonderful place. This album is a bit more grounded and was written with a desert journey vibe in mind. It’s still pretty spacey though, so maybe a desert planet?
Slickster: Now that Space Force is kinda’ a thing, do you feel the moon would be a creative place to dream up synthwave tracks?
BC: The thought of actually going into space is genuinely terrifying to me. I do not want. You can’t make me.
Slickster: Is it possible the editor of Slickster took entirely too many painkillers before soothing-out to Mirage and typing these questions?
BC: We’re gonna package every CD with some quaaludes so everybody gets the same experience.
Slickster: Mirage is polished. It’s an album that is very easy to listen to, but not easy-listening. I mean, no one would ever confuse Mirage, for say, Chicago Greatest Hits, but there is a satisfying buttery feeling to the entire album. Rich chord progressions and aural echo bliss sneaks around every dark corner, like a…. (insert inappropriate metaphor here). Was this your plan all along?
BC: I think so. Like a big ole butter log. I tried to take all of the songs in slightly unexpected directions throughout. And smothered them in sweet echo. Pacing it all with some quieter moments always helps too.
Slickster: I see. You are truly an ambassador for La Luna. What message will you share with all that read this?
BC: Thankyou to every single person that listens to, streams, or purchases any of my music. It still truly blows my mind that anybody takes the time and cares.
Slickster: Any shows, merch, shoutouts, corrections, etc?… Go!
BC: Shout-out to my good friend Tonebox for all his assistance putting up with me being crazy making this album. There should be some physical copies of this and my other albums, with possibly even another new EP on vinyl later this year.
Slickster: David, thanks again for sharing your fanstastic music and answering our dumb questions. Wish you all the best in 2020 and beyond. Anything else you’d like to add before we sign off?
BC: Thanks so much for the kind words and taking the time! Be kind, rewind. Stay weird.
More Synthwave interviews from Slickster Magazine
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“Baldocaster is the only musician I listen to every day of my life,” Caspro.