REVIEW

The fourth album from UK synthwave artist Kalax.

Based in Liverpool, Kalax is the solo project of Lee Blanshard. Before diving into this record, it is worth briefly revisiting what synthwave represents as a genre. Emerging in the mid-2000s, synthwave draws heavily on the soundtracks of 1980s science-fiction films and video games. Hallmark elements include reverse-gated snare drums, pulsating synth basslines, and lead synths that recall the bleeps and tones of retro arcade games. For a quick point of reference, listening to a track by Miami Nights 1984 conveys the essence of the style more efficiently than any verbal explanation. Visually, the genre is equally defined by cyberpunk-inspired artwork, often echoing the aesthetics of Tron or Blade Runner.

Over time, synthwave has splintered into a wide range of substyles. Some branches lean toward vocal-driven pop, others absorb chillwave into more ambient territory, while darker strains edge closer to goth and darkwave, occasionally adopting horror-inflected moods. At the more extreme end, certain artists push the genre toward industrial metal–level aggression. Among these offshoots, the most dreamy and romantic strand came to be known as Dreamwave, a style that gained widespread international attention through acts such as The Midnight.

Kalax initially emerged from the more traditional, instrumental-focused side of synthwave, much like Miami Nights 1984. With the third album “Ⅲ,” however, the project began incorporating numerous guest vocalists, refining a distinctly romantic sensibility. This shift helped Kalax stand out within an increasingly crowded Dreamwave landscape. The track “Out of Time” from that album, in particular, has often been cited as one of the most emotionally affecting pieces in synthwave, notable for its aching, melancholic pull.

After a five-year gap, the new album makes its intentions clear from the moment playback begins. Shimmering synths surge forward in waves, conjuring images of neon-lit nights in Los Angeles. The listening experience suggests a headlong plunge into a Blade Runner–like world, as if slipping into the role of a replicant—or Deckard himself—racing through the city’s glowing streets. With a runtime of roughly 80 minutes, the album sustains this atmosphere long enough to feel almost like a VR experience, offering an unusually deep sense of immersion.

One of the most notable changes on this release is Blanshard’s decision to handle lead vocals himself. His slightly husky, wistful tone adds a new layer of depth and intimacy to the material, and it appears to signal a shift that may also take live performance into consideration.

Although opportunities to see synthwave artists perform in Japan remain limited at present, this album serves as a compelling entry point into the genre. It should resonate not only with dedicated synthwave listeners, but also with fans of electronic-leaning dream pop and shoegaze, particularly those drawn to artists such as M83, School of Seven Bells, or Mint Julep.