SINESTAR – Singularis Launch Event

Bristol synthpop outfit release their debut album…

Sinestar all hail from the Bristol area and got together in late 2011, formed from the ashes of Jagged. Their debut I Am The Rain EP was released at a launch party at The Tunnels, Bristol in early 2012 and two years on, they’re back there to launch their long awaited debut album, Singularis.

Joining them on an entertaining and value for money bill are Cornwall’s Low Tide Theory, whose debut album, The Big Sky, attracted much radio play in 2013, and also Analog Angel, whose latest release was the well received Pride EP, which also proved popular on the airwaves.

And it’s Analog Angel kicking things off tonight, their dark synth tones going down well. Singer John Brown has a languid and confident stage presence borne of many gigs both here and in Europe and a catchy new song, ‘Shout’, goes down well, which bodes well for a planned release of new material in a month or two. They finish to great applause with the radio friendly favourite, ‘We Won’t Walk Away’.

Low Tide Theory’s lighter, more commercial songs provide a good contrast and demonstrate the range of material under the synthpop banner. A poor sound balance and monitoring issues didn’t help but they turned things around with members of the crowd joining in with ‘We All Fall Down’ and ‘Crash’ to close their set.

So, both bands were an enjoyable hors d’oeuvres for the main course about to appear. When Sinestar hit the stage, it’s clear how much they’ve progressed from what was already a good live band in 2012. Support slots for Mesh in Europe have allowed them to hone their craft in front of large audiences and the result is a tight, confident band who make a great noise… the best combination of live synths, vocals, guitar, bass and drums this side of Ultravox. Singer Iain Brownlie prowls the stage, rarely still, confident with just the right amount of cockiness, knowing how good the band is, how good the songs are, and how well he can sing. And he’s not wrong. Songs like ‘Hope and Prey’, ‘Rise and Fall’ and ‘Butterflies’ all have soaring choruses many singers in the synthpop world would struggle with. They demand a good vocal range and he delivers every time. Poor onstage monitoring did mean a brief problem as he struggled to hear himself but that was dealt with quickly and it was business as usual.

Despite this being the official launch of Singularis, they took the opportunity to showcase two catchy new songs and both go down well; a good indicator of the rich vein of material the songwriting partnership of Brownlie and keyboard player Mark Trueman are still uncovering, as they carry on where they left off after completing the album.

Singularis features 14 tracks in all. What is very much a modern album starts off with a very traditional opener… an overture! ‘Chrysalis’ is a short instrumental purely designed to open up proceedings, using the same chord sequence as ‘Butterflies’, the final track on the album, to link the two and thematically open and close the album (and if you don’t know how a chrysalis and butterflies are linked, go and look it up now).

Next up, a reworking of the lead track from their first EP. The original masters of ‘I Am The Rain’ not being available, the band took the opportunity to go back and do it again. The result loses something of the raw, “5 guys setting up and playing” quality of the original but that’s balanced against a far clearer, more polished mix. This version of the track incidentally, has also been been remixed by Mesh’s Rich Silverthorn and made freely available for download on the web and is well worth picking up.

Tracks like ‘Cry Like You Mean It’, ‘Without Glory’ and ‘Locked From The Inside’, set the pattern – upbeat, nagging riffs, catchy choruses, plenty of electronics blended with traditional band elements. And blessed, in Iain Brownlie, with a singer who can really sing. His wide range is shown on the impressive ‘Rise and Fall’, a song which has received much acclaim, and which, in parts, sounds like a second singer is being used. Rare indeed.

‘Lived For’ appeared on their debut EP and sounds like it’s been remastered to fit in with the rest of the album… which it does, it’s a majestic track and it would have been a shame if it had been missed off. Likewise, ‘Hurricane’ from that EP is here too, albeit in the remixed version, courtesy of Tenek’s Geoff Pinckney.

The gritty Undisputed ‘King Of The Tragedy’ is similarly hook laden, featuring call and response vocals and raw guitar alongside the usual synth lines. This song is perhaps more representative of Sinestar live, a raw yet polished and powerful live experience which has impressed many over the last couple of years. It’s an aggressive track which leads into the album’s finale.

‘Butterflies’ closes the album and is already gaining a reputation as a bit of a show stopper. Unlike their other output, it’s a ballad, complete with arpeggiated piano chords, strings, close up vocals… and a one word chorus with a soaring vocal which literally takes off, supported by strings. And which puts the hairs up on the back of your neck. More than one person has told this reviewer they reach for a hankie for this one! So simple and yet stays in your head long after it’s finished.


Hailing from Glasgow and formed in 2009, Analog Angel have developed a devoted following on the basis of their previous two releases, Dischord (2009), and The Thin Line (2011) and supported such luminaries as VNV Nation and Assemblage 23.

December saw them return with ‘We Won’t Walk Away’, a driving, radio friendly tune from the harder edge of the synth pop spectrum. Many listening have suggested it has more than a hint of OMD… the melody does have a tinge of ‘Joan of Arc (Maid of Orleans)’ about it, perhaps.

Well that tune was the advance party, blazing the trail for this EP, just released. ‘Not Alone’ is indicative of the content… gorgeous analogue sounding synths and distorted sounds arranged imaginatively – each sound contributing something, not there to just fill a space. ‘Let It Show’ is powered by heavy resonating synth bass punctuating and driving the song forward while John Brown’s voice rides over the top. Which brings me to the refreshingly “naked” and natural sounding vocals – not laden with double tracking, smothered in reverb nor autotuned to death – creating a very human contrast to the generally analogue sounding synths and making Analog Angel that bit different. It actually just sounds like someone singing. Which is refreshing. And no dubstep style bleeps and noises plastered everywhere to try and sound “current” either.

‘The Temple’ starts with dramatic piano and synth bass before bursting into life and turning into fast paced octave-basslined synth pop featuring 90s Techno synths this time. ‘They Don’t Understand’ again features the big synth bass and killer melody and is my favourite on the EP. Less is more, as they say – when you have good ideas you don’t need to throw in the kitchen sink to impress. ‘Eternal’ again is synth bass driven and has a relentless quality about it, constant chattering rhythm pattern driving on the bass behind the vocals. ‘Feel Me’ clocks in at just under 7 minutes and finishes things off nicely – again with big bass and catchy hooks in a sparse arrangement. The best compliment I can pay is that it doesn’t feel too long.

With such a low price (£3.50) for 7 tracks totalling over 35 minutes – longer than many albums before CDs came along – one might be forgiven for thinking quality control might have been given the day off. Definitely not the case here.