Redline (Lazerhawk)

REDLINE
by Garrett Hays
aka
LAZERHAWK

01	Redline	04:04	by Lazerhawk
02	Overdrive	04:31	by Lazerhawk
03	Electric Groove	04:50	by Lazerhawk
04	Distress Signal	03:37	by Lazerhawk
05	Dream Machine	03:27	by Lazerhawk
06	The Fixx	04:32	by Lazerhawk
07	Pedal to the Metal	05:17	by Lazerhawk
08	Interstellar	04:09	by Lazerhawk
09	So Close	03:47	by Lazerhawk
10	Space Trash	04:45	by Lazerhawk
11	Activation	03:47	by Lazerhawk

VROOM VROOM ZOOM ZOOM PUSH IT TO THE LIMIT WITH LAZERHAWK'S REDLINE. I'VE HEARD A LOT OF AUTHORS LAUDED AS THE MASTER OF OUTRUN, BUT GARRETT HAYS IS THE ONLY ONE THAT'S STUCK WITH ME, AND THAT'S BECAUSE REDLINE IS A SYNTH MASTERPIECE. IT'S THE PERFECT COMPANION TO AN AFTERNOON DRIVE, STARTING OUT FAST AND THEN MELLOWING OUT WHEN THE SUN SETS. IF NOTHING ELSE, LISTEN TO "ELECTRIC GROOVE", BUT THE REST OF REDLINE IS PURE GOLD.

I bought Redline off a recommendation in Perturbator's Facebook page. I knew I liked dark synth, and Lazerhawk was one of his tangents listed as such, so why not? Redline, released back in 2010, is not at all what I thought it was going to be, and I should have known based on that album cover, but I'm still stoked all the same for having the opportunity to listen to it. Redline is outrun to the core, and will probably forever be the premiere outrun album to me just based on how VROOM VROOM it is. Like any good drive, Lazerhawk's debut is front-loaded with speed and excitement before eventually settling down as the day gives way to twilight and the starry night sky. There's a feeling, though, of lonesomeness and distance that suggests a lot but leaves plenty to interpretation, which I might, if you don't mind. If Redline were a concept album as the synthwave scene so favors, I would say that it's about a man spending some quality time with his sports car to clear his head from the fallout of a personal relationship, whether unrequited love or a break-up.

Things kick off with the title track, whose main hook is the sound of an engine revving over and over again backing some killer synth riffs. It's a great start, moving to "Overdrive", the fastest song on the album. It's another wonderful instrumental, sounding dark and a little desperate as Lazerhawk puts his skill through its paces. I love the solo break in the middle that gets faster and faster as the rest of the synths kick back in. And then, of course, "Electric Groove", which I would have worn out if it were on vinyl. The digital age has its advantages, though. It's got a wonderful baseline and Hays layers his sounds, creating an immaculate track that's punctuated with some silky smooth vocals. I want to point out the most suggestive phrase, at least to me - "And when we're together I can feel the space / I want you so bad but the look in your face / Tells me one thing that I already know / You're not ready to go". This theme of interpersonal distance carries on throughout the album, if not lyrically then within its tones and titles.

"Distress Signal" slows things down a bit with another wonderful instrumental, feeling bittersweet in its delivery. It's got the sound of a sunny day, but - like the track before - there's a sense of loneliness. The focus shifts in "Dream Machine"; it's back to the car that got us here, with an ode to what appears to be the classic Ferrari, judging by the lyrics related once again in the dreamy, processed vocals. Things start out pretty mellow but the synths are a little louder with the second chorus. "The Fixx" is another favorite, a fast and light instrumental with a complex beat, ramping us up for the second wind. "Pedal to the Medal" is another road blaster, speeding out the gates with that rambunctious synth riff before the beat kicks in and you're redlining again. The track ends on another, disassociated instrumental as we shift dreamily into the sunset.

The next three tunes mellow out as Hays turns to some introspective stargazing. "Interstellar" is the moodiest of the bunch, echoing the themes of loneliness explored earlier in the album as we drive beneath a night sky pin-pricked with stars. At a distance, celestial bodies seem close, but we know that's just a trick of perspective. It's a sad, soulful song with a great solo and a great way to kick off the night drive. "So Close" keeps turning into a Starforce song in my head whenever I try to remember it, funnily enough. It's another upbeat, cautiously optimistic instrumental in the vein of "Distress Signal", just a little faster. Before the closeout, we get the relaxed and oh-so-80s "Space Trash". I dig those deep synth tones juxtaposed with the higher notes, and the repeating "Space... trash..." is a great hook to bust up the second half. The finale - the spooky, fast-paced "Activation", which Hays would later rewrite - so to speak - for the phenomenal "Arrival" from his Visitors album. It's only fair that we end a fantastic outrun album on a cool outrun track, and "Activation" delivers, ominously blasting off. To where, who knows?

WHY YOU NEED THIS ALBUM: Redline is a wicked awesome outrun album but I think there's more to it than just super fast cars. You're welcome to scoff, of course. Here, the desire to drive unravels into escapism from the pain of solitude and perhaps even looking at your vehicle of choice as a substitute for a real companion, the reality of which seems distressingly far away. Perhaps a more accurate reading is a longing for a co-driver? If so, it's incredibly nuanced and surprisingly poignant. If not, well, it sure as Hell is a kickass outrun album, one you really should have, as it's high-octane.

WHERE TO GET IT: Lazerhawk's bandcamp page for the very reasonable price of $9.99. Hays isn't quite as prolific as some of his contemporaries, but he does fantastic work and I'm happy to compensate him for it.

PEDAL TO THE MEDAL BABY