It’s not even worth singling out individual tracks for the most part, either; there’s barely anything to single out! And while that’s more on those loud, isolated voices who’ll spend their time screaming at the defence of an act they have no more personal stake in than said act themselves, you have to believe that Gunship are aware of that. It just leads to an album that drags incessantly, not helped by how little variation there is the chugging synth progressions. Of course, there’s plenty of saxophone; it’s more prominent in some songs than others, especially the aforementioned ‘Empress of the Damned’ and late album sleeper hit ‘Nuclear Date Night’ where alongside a bluesy solo, there’s some downright stunning hooks that’ll leave grins plastered across faces in jazzy ecstasy. It’s not just her voice though, that propels the song but the appearance of some downright glorious saxophone midway through for a, dare we say it, sexy solo.

At over an hour, Gunship are asking for a lot of your time with Unicorn , especially when its second half is truly trounced by its exemplary first half. Tastes Like Venom’ is another solid floorfiller, but it feels like it’s lacking some oomph, or perhaps just the star-studded remainder of Unicorn ’s other opening songs overshadow it. While critical reviews are a common part of music journalism, a more balanced and objective approach would provide a fairer assessment for readers. Maybe it’s the beats, the industrial overtones, synth’s irrevocable connection to horror movies, or something else entirely.My favorites right now are Tech Noir II (a more upbeat sequel to the original), Empress Of The Damned (there's a lot going on in this song and it has a lot of energy and attitude) and Ghost (the music video is absolutely hypnotizing). That album came out five years ago now, and the single prevailing memory of Gunship is their slavish desire to ‘80s synthwave, in a way that subsumed anything approaching a cogent idea or identity in favour of laying that devotion bare. It’s all incredibly similar stuff all over the place, from the analogue synths to the gated percussion, to the saxophone that trails through about half-a-dozen songs here, and sounds more perfunctory every single time. Regardless as a somewhat self-professed metalhead, synthwave provided some of the same release that I get from riffs and blast beats but it does so through a completely different sonic milieu.

It’d likely be more preferable than Alex Westaway, though he’s barely a presence here in his own right. Opener pazzesca (di cui è stato realizzato un bellissimo video a tema cyberpunk), seguita da un saggio dosaggio di brani ora sognanti e atmosferici, ora incalzanti, sempre nostalgici di un'estetica di un tempo che fu (l'introduzione di John Carpenter in Tech Noir 2 è programmatica). Granted, there’s not a ton that comes from that, seeing as most don’t get to show much of themselves off, instead falling into Gunship’s maw to be spat out as a nominal vocaloid fit for purpose.You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. There’s also some cool bits of The Prodigy-esque styling to crop up on Blood For The Blood God and Nuclear Date Night, and in general, the front half that’s loaded with guest stars makes for the most appealing fare, if only to see how they’re all used and arranged. British masters of futuristic dark retrowave/synthrock with the next mighty release, driving, nuanced and catchy as it should be. They’re simply just parts of an objectively impressive array of guests, plugged into place with barely a thought given to what uniqueness they could possibly bring. The 'Product' page will show the most up to date info we have with regards to the item and its release date, but this information is subject to change so check in with us if you have any questions.

Weaponized Love” feels like their love letter to Nine Inch Nails with its lusty lyrics and beats and “Holographic Heart” – which features Britta Phillips – is pure Madonna worship in the best way. There’s also contributions from legendary drummer Dave Lombardo and Tyler Bates, in a star-studded opener to the album that’s anthemic and easy dancefloor fodder. If there is one complaint that I have about this record is that it is perhaps a little bit too long to be comfortably consumed in one go as things can run together a little bit, especially in the final third of the album.GUNSHIP is an entity that has, since the first moment that I heard them, continually captured my imagination through their songs, aesthetic, and ability to be unique amidst a host of synthwave acts that rely too heavily on a single aspect of this burgeoning scene.

Though this isn’t an easy listen, Body Void’s newest journey into the abyss yields a shrieking, industrial mutation of doom-metal that couldn’t fit into the blackness around them more perfectly.It’s the thing that’s always made Gunship felt like such a sterile product, an act built on the presence of references than any greater application of them.