Frontman for the dark rock/gothic act Lord of the Lost, Chris Harms has been riding high off some earned successes in recent years as his group has gained more attention at the global level. Thus laying some of the groundwork for his first solo effort, 1980. Given the title and artwork, it’s not too hard to see where Harms’ influences are showing into that decade’s synth pop and new wave experimentation. Something that’s a perfect fit for his quickly identifiable baritone vocals.
Those who have a soft spot for synthwave or ’80s new wave are going to have their day made when they hear 1980. Harms’ vocals are the centerpoint for each track, but the playful and/or dark and driving synths are bound to fight for your attention at every corner. There’s a touch of metallic and gothic influences only in the sometimes dark tone of the electronics, and his lower vocal register. It’s a fantastic throwback, and the way each track sets it up makes it fun to see where it will go. Opener and single “I Love You” entices the listener with it’s big synth and vocal hooks that sit on the danceable side of things, sure to bring a smile to ’80s nostalgia fans faces as they sing along. The same can be said for the rousing “She Called Me Diaval,” which offers driving synths that all but move in neon colors as Harms croons above it all.
But it’s not all bright, neon rainbows, and the album shifts into darker directions as well. “Past Pain” carries a distinctly goth-y flavor with it’s dark, striking synth beats and similarly gloomy approach by Harms. Closer “May This Be Your Last Battlefield” hits similar reflective notes, but in an even more ballad-y and pensive way. “Somewhere Between Heaven and Armageddon” offers something between the two extremes, with a combo of bigger hooks with a darker vibe overall. Something that “Madonna of the Night” seems to revel in, with it’s big pulsating synths and soaring chorus that also features Sven Friedrich in a great duet.
Big synth-driven and goth-y sounds await you on Chris Harms solo debut. Sure to appeal to ’80s synth fans as well as the Lord of the Lost crowd, it’s a surefire winner that gives Harms a different playground to sing through, and one that’s just as solid a fit as his main gig. 1980 is a fun, nostalgic trip with charismatic vocals that lead the way with plenty of dark charm.