Club Soda’s Self-Titled Album is a Genre Hopping and Swapping, Lo-Fi Synth Pop Time Travel Adventure

Club Soda s/t cover

The self-titled Club Soda album gets going into some intense, hyper dance club version of a science fiction synthwave vibes right away with “Goblin Bitch.” Given the possibilities of modern production it’s difficult to say how much of this was produced with older technology but it has the tonal aesthetics of something that would have been made with cheap synths, drum machines and either Acid or some old sequencer and a CasioTone 101. Except that Elijah Jarocki brings a different set of aesthetics to the music than someone would have in the late 90s making use of childhood electronic instruments to create strange pop songs. “Heartbreak City” sounds like a trap song made by Captain Ahab. Ghosts of Herbie Hancock’s “Rock-It” haunt the edges of “Rice Forever” before it goes lo-fi Dirty South early EBM. “Goyle/Soda Alienation [178]” warps the flow of rhythm in a way that draws you in and provides sonic flashback of one of those beats Aphex Twin buried on the deep web for adventurous and resourceful fans to find. In the end, though, with “You Almost Took Me To The Edge,” Club Soda finishes the album with a triumphant, synthpop banger with vocoder to seal the impression of gloriously abused aesthetics and technology to engage in layered stylistic time traveling to make an album that could have been made 40 years ago or yesterday. Being able to exist in that zone of timelessness for the duration of the album is truly a gift. Listen to Club Soda on Bandcamp where you can also order a copy of the physical media.

Soda Evokes the Feeling of Pent-Up Energy Impatient For Release on “captivity”

Soda, “captivity” cover (cropped)

“captivity” by Philadelphia, Pennsylvania-based artist Soda sounds like something out of a soundtrack to a frenetic side scroller video game, the kind where you are constantly have to leap over or otherwise dodge or avoid obstacles coming toward you. Its minimal beat with syncopated change-ups and shifts in texture pushed along by an urgent, distorted synth line is like a minimalist breakbeat song informed by lo-fi home taping aesthetics. Emotionally the song evokes a sense of pent up energy ready to break free but forced to cycle to higher states of internalized activity causing the aforementioned distortion. It represents an evolution in songwriter Elijah Jarocki’s experiments in electronic music from more beat driven art noise pieces into something with a cinematic quality even given its brevity. Listen to “captivity” on Bandcamp where you can explore further into Soda’s recorded output.

https://sodaplus.bandcamp.com