Blue Light Murder
by Ron Cannon
block35
block35
One of the best albums in the genre and a true classic!
Favorite track: Future Kill.
Matthew Toye
Matthew Toye
Ron Cannon's debut is the soundtrack to a horror movie that never existed. His synths are easily the most genuine sounding out the of the bunch, and the minimalistic approach is beyond superb.
Favorite track: Unsafe.
sean faunce
sean faunce
Super dope shit Ron Cannon. Very omniscient and alluring.
Favorite track: Future Kill.
Creed H. Quinn
Creed H. Quinn
Best Horror synth album available.
Ron Cannon captures the 80's feel of horror and slasher films from the decade and pays beautiful tribute to them and their great original composers.
A must buy for all Retro synth and horror synth lovers alike. Favorite track: Last Exit.
Ron Cannon captures the 80's feel of horror and slasher films from the decade and pays beautiful tribute to them and their great original composers.
A must buy for all Retro synth and horror synth lovers alike. Favorite track: Last Exit.
EndLevelBoss
EndLevelBoss
Get our your Jason & Michael Meyers Masks, Freddy Claws, and Chucky Doll. It's time to take a stroll through a haunted mansion of 80s horror and this is the soundtrack!
Favorite track: Blue Light Murder.
MCAL - FE
MCAL - FE
As spooky, suspenseful and beautifully vintage as any synthwave/horror synth release I've heard. It's as if an early-80's slasher film that was too weird, too terrifying and too controversial for public consumption was recently unbanned by the government and finally released in all its uncensored glory. This album would be the score to that film. Fantastic.
Favorite track: Last Exit.
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T e l T o n
Coleslaw
Colman Webster
ZoneKillerFan
Sven Hacker
Joey Albanese
Christian Ackerman
Mark B
xenatrix
gonzo009
Mr Hoo
Dardano Viventi
Lord Dust
Ryan Decker
NR2
Mojave Space Alien
UnlimitedFunkWorks
6rimr3ap3r
TheWeekend-Offenders
Ghostmoon
Ike V
Eathanor
Logan Castonguay
Stranger
Martin Schulze
Tukebeard
johnboypocatello
Buried In Time
Jeremy R Richey
Klax™
Special Ed
Doug
bli47ard
grandmaster_adobe_flash
Cyborgguineapig
Peter Kelly
renemarc
Elektrosniper/Maschinengeist
Michael Sorensen
CHRISTOPHER MARESSA
hindenburgomen
Kyle Danco
Corey Jones
itsjakeo
jacensolodjo
G-Prime
Johnathan Bond
rottingdark
Kingsley
detectivehorror
progmetal4ever
Henrique Araújo
brandon warren
Dryne
Pakratos R7
G ALLEN
mazinz
Occam Aldanis
David Alexander McDonald
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
$4 USD or more
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Full Digital Discography
Get all 58 Future 80's Records releases available on Bandcamp and save 50%.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of S.L.A.S.H.E.R, Allegria, Made In Space, Future Waves, Sleepless Nights, Scenes, Virtual, Apoptosis, and 50 more.
Purchasable with gift card$97.50 USD or more (50% OFF)
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Blue Light Murder // Cassette
Cassette + Digital AlbumA classic synthwave horror album now on rad looking cassette!
‣ Packed with external cover
‣ Jcard with prints on both sides.
‣ Blue petrol cassette with sticker on tape.
Includes unlimited streaming of Blue Light Murder via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Sold Out
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1. |
Opening
03:44
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2. |
Nightmare City
02:53
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3. |
Blue Light Murder
03:43
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4. |
The Lonely
01:30
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5. |
Back There
03:05
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6. |
Future Kill
04:52
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7. |
Last Exit
03:49
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8. |
Unsafe
04:55
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9. |
Midnight (End Credits)
01:45
|
about
Synthetix.fm - "After settling in for the night with the lights low, the winds howling and the atmosphere primed; I give Ron Cannon's 'Blue Light Murder' a spin and take a ride back to the early 80s, making a detour via Camp Crystal Lake and Elm Street, with sightseeing narration by John Carpenter. Blue Light's greatest feature and most immediately noticeable is its authenticity, both in its efficient minimalism and sparse, haunting soundscapes.
'Opening' sets a dark scene of street lights and deserted neighbourhoods, slow and methodical synths pulse calmly as the sounds build, thicken and layer into a collection of textures that Cannon stays true to throughout the album. The textures vary from the pleasantly familiar pulsing basslines that are a staple of the synthwave genre, to analogue insanity as Cannon's abstract scary moments grind and scream out of what sounds like authentic hardware.
Cannon sticks to his guns as the album moves on, effectively scoring a horror movie that was too dark to ever see the light of release. This is where the release shines above others in its field; it has a goal, it has a concept, and it rigidly sticks to it. It makes for a few predictable moments toward the end of the album.
'Back There' and 'Future Kill' land exactly where a viewer would expect the pace to heighten in a horror movie of this era. But where Cannon knows to let his chase scenes come in, he knows how to throw a curve ball in and catch us unawares with 'Back There' moving into a beautiful synthscape that fits right in with the rest of the album, but stands out, showing that Cannon is a man that could score for other films cooked up in his imagination outside of the horror arena.
Ron unapologetically takes his time with his slower, more brooding tracks. 'The Lonely' is a great gear shift into something much more delicate and although it clocks in at just under 2 minutes, compliments a scene that'd give its characters a chance to catch their breaths. 'Last Exit' brings the album near to the end as frantic breathing holds the pace of the track as the now-familiar synth patterns swirl and dance around it.
Cannon knows his stuff, that much is obvious, as he effortlessly picks apart soundtrack elements from Friday The 13th and The Fog, and makes them his own. 'Unsafe' feels like the single of the album, something that wouldn't suffer from having vocals added to it, but doesn't feel lacking in any way. The album closes much as it began with 'Midnight', which as I mentioned earlier is where Ron Cannon has excelled; by sticking to his palette and remaining consistent."
'Opening' sets a dark scene of street lights and deserted neighbourhoods, slow and methodical synths pulse calmly as the sounds build, thicken and layer into a collection of textures that Cannon stays true to throughout the album. The textures vary from the pleasantly familiar pulsing basslines that are a staple of the synthwave genre, to analogue insanity as Cannon's abstract scary moments grind and scream out of what sounds like authentic hardware.
Cannon sticks to his guns as the album moves on, effectively scoring a horror movie that was too dark to ever see the light of release. This is where the release shines above others in its field; it has a goal, it has a concept, and it rigidly sticks to it. It makes for a few predictable moments toward the end of the album.
'Back There' and 'Future Kill' land exactly where a viewer would expect the pace to heighten in a horror movie of this era. But where Cannon knows to let his chase scenes come in, he knows how to throw a curve ball in and catch us unawares with 'Back There' moving into a beautiful synthscape that fits right in with the rest of the album, but stands out, showing that Cannon is a man that could score for other films cooked up in his imagination outside of the horror arena.
Ron unapologetically takes his time with his slower, more brooding tracks. 'The Lonely' is a great gear shift into something much more delicate and although it clocks in at just under 2 minutes, compliments a scene that'd give its characters a chance to catch their breaths. 'Last Exit' brings the album near to the end as frantic breathing holds the pace of the track as the now-familiar synth patterns swirl and dance around it.
Cannon knows his stuff, that much is obvious, as he effortlessly picks apart soundtrack elements from Friday The 13th and The Fog, and makes them his own. 'Unsafe' feels like the single of the album, something that wouldn't suffer from having vocals added to it, but doesn't feel lacking in any way. The album closes much as it began with 'Midnight', which as I mentioned earlier is where Ron Cannon has excelled; by sticking to his palette and remaining consistent."
credits
released June 13, 2014
Ron Cannon Facebook *FAN* Page!
www.facebook.com/pages/Ron-Cannon/171993616311708
Instagram: instagram.com/roncannonmusic/
Ron Cannon Facebook *FAN* Page!
www.facebook.com/pages/Ron-Cannon/171993616311708
Instagram: instagram.com/roncannonmusic/
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Future 80's Records UK
FUTURE 80's RECORDS promotes Synthwave / Retro Electro / Dreamwave / /Spacesynth artists.
The music of tomorrow created in a retro manner. Briefly is Future 80's.
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