THE ASTRAL STEREO PROJECT – Anti Hero (2014)

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Neil C Holdsworth hails from Middlesbrough, UK, but his mind lives in Hollywood circa 1984. Under the monicker THE ASTRAL STEREO PROJECT, this is much more than a name plucked from a selection of retro associated idioms but instead is a descriptor and blueprint for his ’80s ‘action movie’ soundscapes akin The Terminator, Miami Vice, Giorgio Moroder / Jan Hammer works and alike.
Take a look at the cover of his album “Anti Hero“…

The actual sound of The Astral Stereo Project is most unlike a lot of the ‘standard definitions’ of ’80s inspired synth music. We’re treated to an even broader horizon of synthscapes that results in some remarkable combinations of sounds and melodies.
“Anti Hero” and it’s varied chapters are tied together by spatial energies bound to earthly emotions. Instrumental tracks are picturesque and flow with much beauty while the songs on the album acquire a greater intimacy that feels genuine and honest. The sung songs are quirky, and each seems taken from a Miami Vice episode.
The overall story is richly told as the soundtrack describes the action and relationships of the titular Anti Hero.

The opening track, “‘She Dances At The Metropole” sets the perfect stage for Anti Hero’s synthual repast. All the tracks on this record seem to contain otherworldly elements that either drive the experience or allude to other dimensional realities more subtly. This first chapter is full of emotive strings and swooshing stars that are propelled by a bassline of restrained elegance. The moods move from ’80s passions into stabbing synthscapades which are then allowed to fully mature in the second chapter “L.A. Ripper”‘.
On “Midnight Dancers” The Astral Stereo Project begins to show it’s hand and expose it’s genius in a divine manner. There’s something about the vocal that reminds me of some of Peter Gabriels work, which is no bad thing, and the music is produced in a lingering intimacy of timeless beauty. The synths are met with a beautifully complementary guitar track and combine with the vocals to make a spectacular pop synth experience that draws from many decades but is married to none.

“Downtown Patrol” is one of my favorites which ramps up the drama exponentially via compressed drums. Shades of John Carpenter-esque melodies give the track an Assault On Precinct 13 / Escape From New York kind of flavour and the synths are fashioned in the perfect manner to describe finely crafted details while the robust and forceful percussion drives home the melodrama.
“Fire With Fire works as the ‘next chapter’ to ‘Downtown Patrol’, and put the sky on fire with it’s incendiary lead synths supported by shimmering falling stars and robotic rhythms. I love this stuff!

The next track on Anti Hero is definitely one of the most frenetic as a build more than half the length of the actual song leads into rocket fuelled synth delights as the “Marina Freeway Pursuit” serves as a precursor to the final chapter, the action packed and explosive title track.
On “Anti Hero” (the song) drama is thick with tension and quests for redemption amid flashes of light, fire and passion in the darkest hours before the dawn. You picture yourself driving your car at full speed while listening this.

The “Anti Hero” experience is a complete soundtrack (from a movie that never existed) in it’s formulation and the stories of love and baser human desires. It’s told in a way that I find enduring as a whole but also the pieces as separate entities on their own intimate singular moments of emotional rewards and action packed excitement.
Holdsworth has a weaved a pastiche of musical flavours from many decades into a focused and concise tale that is a joy to experience.
Eighties suckers, don’t miss this one.

01 – She Dances at the Metropole
02 – L.A. Ripper
03 – Midnight Dancers
04 – High Tension
05 – Downtown Patrol
06 – Luna’s Theme
07 – Fire with Fire
08 – Marina Freeway Pursuit
09 – Anti Hero
10 – Nightrunner (bonus)
11 – Fast Times (bonus)
12 – I Dream in Technicolor (bonus)

Neil C Holdsworth: synths, keyboards, vocals, programming
thanks to Rick Shithouse

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