“2077.“
Synthwave is now in its era as a more-than-established genre in the electronic world. Outside the club scene, it’s arguably the one that has the most cultural relevance over the last decade or so. While the dregs of 80s nostalgia have been bastardised in the likes of Stranger Things, synthwave acts such as Carpenter Brut, The Midnight and Perturbator have always reminded authentic to themselves, for better or for worse. Despite this, there is a sense that the synthwave, ‘outrun’ or whatever genre-ism of choosing, is reaching the tail-end of its creativity. The previous records of the two aforementioned acts did little to disprove, and for its quality, the final act in the Leather series only adds to that feeling.
For those who have been keeping track, Leather Temple is the third in the series, following on from Terrorand Teeth. The series follows on from the much acclaimed TRILOGY, the combination of Brut’s three early EPs as one overarching record. The success of the series has been mixed, with Leather Teeth being a rather obtuse and poor attempt at reinvention. Leather Terror was a return to form, yet still leant too heavily on the tropes that made the genre popular among a wide audience. In essence, it helps when a record can pull out GUNSHIP and Greg Puciato out as a feature.
This is where Leather Temple immediately stands on its own. It’s the only record in the trilogy to have absolutely no features. It’s a harken back to the older days of synthwave, where the likes of Brut‘s aforementioned TRILOGY, or Dan Terminus‘ work often stood as their own while many of their counterparts were scattered with features. It’s here where the art of storytelling becomes much more challenging and where the songwriting ability becomes tested, with only the greats in the electronic genre such as Burial truly being able to achieve this on an instrumental level.
Whether it’s on early cuts such as “Major Threat” or later tracks “Neon Requiem“, Carpenter Brut is still very adept at putting this sound together. Soaring synths and toe-tapping beats are ever present, packed with looping hooks that wrap themselves within the ear and urge the body to match their rhythm. The more metal-esque elements that Brut pulls out in a live-setting are at the forefront on the likes of “Leather Temple” and “Speed or Perish“, demanding headbangs and frenetic moshing rather than disco moves.
On the murkier tracks like “The Misfits The Rebels” the production does feel too clean. Better offerings for industrial styles were present on Leather Terror, or perhaps from the likes for HEALTH or Power Glove. It’s slightly too sterile for an artist that has often delved into the punk world, both through narrative and through sound. Even if Leather Temple is an almost all-out embrace of the 80s, this shouldn’t mean that the production is flexed to serve each track.
Ultimately it’s the bigger moments that should define Leather Temple, especially towards its end. “The Misfits The Rebels“, despite lacking that production edge, still injects adrenaline into the veins with its racing beat and its grandiose synths, sounding six feet tall. Sadly, the closer “The End Complete” feels like a rather placid way to close out the trilogy. The dip into orchestral sounds is very canned and predictable for such a moment. Yes, the genre is not known for being subtle, but it could at least be unexpected.
Despite its popularity, synthwave might be reaching its closing chapter, and Leather Temple only adds to this theory. Many of its flagbearers have been unable to reach the heights of yesteryear and its cultural touchstones in likes of Drive, Hotline Miami and Far Cry: Blood Dragon are now relics of the past. If we are searching for the next high point of the genre, we may have to wait for a new artist to emerge and steal the limelight. For now at least, the genre will remain in its ever familiar loop, running over and over its sell-by date, struggling to rekindle itself with its own nostalgia.
5/10
Leather Temple is out February 27th via Virgin Records France, and can be pre-ordered here.