Feb 09, 2025

Lazerhawk – One of the Early Synthwave Legends

Picture this: It’s 2010. The world is still reeling from the global financial crisis, Avatar is the highest-grossing movie of all time, and everyone’s texting in “LOLs” and “BRBs.” But deep in the digital underground, something is stirring. A sound. A vibe. A neon-soaked, retro-futuristic rebellion against the dubstep-dominated EDM scene. Enter Lazerhawk—the synthwave maestro who’d soon become the sonic architect of your midnight drives, your retro gaming marathons, and your questionable dance moves in front of the bathroom mirror.

But who is Lazerhawk? And why does his music feel like a time machine powered by synthesizers and existential longing? Buckle up, because we’re diving into the origins of one of synthwave’s founding fathers, his iconic album Redline, and why his work is the perfect soundtrack for slipping into a Newretro.Net leather jacket and pretending you’re the protagonist of an ’80s movie that never existed.

If Redline was Lazerhawk’s high-octane debut, then his later work is the equivalent of a synthwave odyssey—a journey through neon-lit cityscapes, cosmic highways, and the occasional existential pit stop. By the time he released Visitors in 2013, Lazerhawk had already proven he wasn’t just a one-album wonder. He was a genre-defying maestro, unafraid to experiment with new sounds, themes, and vibes.

So, grab your Newretro.Net leather jacket (because let’s face it, synthwave sounds better when you’re dressed like a cyberpunk hero), and let’s dive into the second act of Lazerhawk’s career.

Visitors: When Synthwave Went Intergalactic

If Redline was the soundtrack to a high-speed chase, Visitors was the score for a midnight voyage through the cosmos. Released in 2013, this album saw Lazerhawk trading in his muscle cars for spaceships, blending synthwave with space disco and a dash of robot pop.

The Sound of the Stars

Visitors is a masterclass in atmosphere. Tracks like “King of the Streets” and “Neon Dawn” still have that signature Lazerhawk grit, but there’s a newfound sense of wonder here. It’s as if he looked at the synthwave rulebook and said, “What if we took this to the stars?”

“King of the Streets”: This track is pure swagger—a bassline so heavy it could anchor a spaceship, paired with synths that shimmer like starlight. It’s the kind of song that makes you want to strut down a neon-lit alleyway, preferably in a pair of Newretro.Net retro sneakers.
“Neon Dawn”: A slower, more introspective track that feels like watching the sunrise on an alien planet. It’s moody, it’s cinematic, and it’s proof that Lazerhawk isn’t just about high-energy bangers.
“Overdrive”: The title says it all. This track is a relentless barrage of synths and drums, perfect for when you need to outrun a black hole or just get through a Monday morning .

What makes Visitors so special is its ability to balance nostalgia with innovation. It’s still undeniably synthwave, but it’s also a bold step forward—a reminder that Lazerhawk isn’t content to rest on his laurels.

Skull and Shark: Diving into Darksynth

By 2014, Lazerhawk was ready to explore darker territory. Enter Skull and Shark, an album that ditches the neon glow for a more ominous, brooding sound. If Redline was the ’80s action movie, Skull and Shark is the horror sequel—complete with ominous synths, pounding basslines, and a sense of impending doom.

A Darker, Grittier Lazerhawk

Skull and Shark isn’t just an album; it’s an experience. From the eerie opening track, “The Kraken,” to the relentless energy of “Revenge of the Gator,” this album is a masterclass in tension and release.

“The Kraken”: This track sets the tone with its ominous bassline and haunting melodies. It’s the musical equivalent of a storm cloud rolling in—you know something’s coming, but you’re not sure what.
“Revenge of the Gator”: A fan favorite, this track is pure darksynth energy. It’s fast, it’s aggressive, and it’s the perfect soundtrack for battling a rogue AI or just surviving rush hour traffic.
“Electric Sea”: A slower, more atmospheric track that feels like diving into the depths of the ocean. It’s moody, it’s hypnotic, and it’s proof that Lazerhawk can do more than just high-energy bangers .

Skull and Shark also marked a turning point for Lazerhawk. It showed that he wasn’t afraid to take risks, to push the boundaries of what synthwave could be. And while it might not have the same mainstream appeal as Redline, it’s a cult classic for a reason.

Dreamrider: The Introspective Masterpiece

If Skull and Shark was Lazerhawk’s descent into darkness, Dreamrider was his journey back into the light. Released in 2017, this album is a more introspective, emotional take on synthwave—a reminder that even in a genre defined by nostalgia, there’s room for vulnerability.

The Sound of Dreams

Dreamrider is a departure from Lazerhawk’s earlier work, trading in high-energy bangers for slower, more atmospheric tracks. It’s an album that invites you to close your eyes and drift away, whether you’re cruising through a neon-lit cityscape or just daydreaming at your desk.

“Dreamrider”: The title track is a dreamy, ethereal journey—a perfect blend of synths and strings that feels like floating through the cosmos. It’s the kind of song that makes you want to grab a Newretro.Net retro watch and lose track of time.
“Feel the Rush”: A rare high-energy track on an otherwise mellow album, this one feels like a callback to Lazerhawk’s earlier work. It’s fast, it’s fun, and it’s proof that he hasn’t lost his edge.
“The Last Escape”: The closing track is a bittersweet farewell—a reminder that even the best dreams have to end. It’s haunting, it’s beautiful, and it’s the perfect way to close out the album .

What makes Dreamrider so special is its emotional depth. It’s not just an album; it’s a journey—a reminder that even in a genre defined by nostalgia, there’s room for growth, for introspection, for something new.

Lazerhawk’s Legacy: The Sound of a Generation

So, what’s next for Lazerhawk? As of 2025, he’s still going strong, releasing new music and inspiring a new generation of synthwave producers. His influence can be heard in everything from video game soundtracks to Hollywood blockbusters, proving that synthwave isn’t just a genre—it’s a movement.

And let’s not forget the aesthetic. Lazerhawk’s music isn’t just a sound; it’s a vibe. It’s the kind of vibe that pairs perfectly with Newretro.Net’s retro-styled clothing—whether you’re rocking a leather jacket, a pair of aviator sunglasses, or a vintage-inspired watch. Because let’s face it: synthwave isn’t just music. It’s a lifestyle.

So, what have we learned? Lazerhawk isn’t just a synthwave legend; he’s a pioneer, a risk-taker, and a reminder that even in a genre defined by nostalgia, there’s always room for something new. Whether you’re a longtime fan or a newcomer to the scene, his music is a gateway to a world of neon lights, cosmic highways, and endless possibilities.

Now, if you’ll excuse me, I’m off to blast Redline while wearing my Newretro.Net denim jacket. Because if there’s one thing Lazerhawk has taught us, it’s that the future is retro—and it’s never looked (or sounded) better.

The Rise of Synthwave: A Crash Course

Before we get to Lazerhawk, let’s set the scene. Synthwave—a genre that sounds like the love child of John Carpenter, a Sega Genesis, and a VHS tape left in the sun—emerged in the mid-2000s as a nostalgic homage to the 1980s. Think pulsating basslines, glittering arpeggios, and enough reverb to drown a small city. It’s the music of dystopian futures imagined by past decades, of neon-lit streets, and of course, muscle cars that probably run on pure nostalgia.

Artists like Kavinsky, College, and Mitch Murder pioneered the sound, but Lazerhawk (real name: Garrett Hays) carved out his own lane with a blend of cinematic urgency and robot-pop sensibilities. Hailing from Austin, Texas, Lazerhawk didn’t just make synthwave—he helped define it. Alongside peers like Miami Nights 1984, he co-founded Rosso Corsa Records, a label that became synonymous with the genre’s gritty, DIY ethos.

Fun fact: Lazerhawk started uploading tracks to MySpace in the late 2000s. Yes, MySpace. The same platform where your middle-school self probably had a playlist featuring “Crank That (Soulja Boy)” and a pixelated selfie. But while the rest of us were coding our Top 8 friends, Lazerhawk was quietly building a cult following with tracks that felt like they’d been unearthed from a 1985 time capsule.

Redline: The Album That Put Synthwave on the Map

In January 2010, Lazerhawk dropped Redline—an album so iconic, it’s basically the Thriller of synthwave. Okay, maybe not Thriller. Let’s say the Blade Runner of synthwave. Or the Breakfast Club? Whatever your ’80s reference of choice, Redline was a game-changer.

Why? Because it wasn’t just music—it was a vibe. A full-throttle, pedal-to-the-metal, outrun-the-cops-while-your-hairstyle-defies-physics kind of vibe. From the opening title track, with its revving engines and laser-guided synths, Redline grabs you by the collar and drags you into a world where every sunset is neon and every car has a flux capacitor 214.

The Tracklist That Defined a Decade

Let’s break down some standout moments (because what’s a retro music blog without a list?):

“Redline”: The title track kicks off with a heartbeat-like bassline and synth stabs that sound like a robot uprising. It’s the musical equivalent of shifting gears in a DeLorean.
“Electric Groove”: A fan favorite, this track pairs seductive vocals (“All night long I wait for you…”) with a bassline so funky, it could resurrect disco. Critics compared it to Drive’s “Tick of the Clock,” but with more existential yearning 210.
“Pedal to the Metal”: Five minutes of pure adrenaline. If this song doesn’t make you want to steal a Lamborghini Countach, check your pulse.
“Activation”: The closing track is a triumphant crescendo—like the credits rolling on an ’80s action flick where the hero drives off into a pixelated sunset 14.

What made Redline special wasn’t just its sound, though. It was its accessibility. Lazerhawk proved you didn’t need a studio full of vintage synths to make magic—just a computer, some killer emulators, and a deep love for the 1980s.

**Why Redline Still Slaps in 2025**

Fifteen years later, Redline isn’t just a relic of the early synthwave era—it’s a blueprint. Here’s why it holds up:

Timeless Production: Unlike the overprocessed EDM of the 2010s, Redline’s analog warmth feels organic. It’s like comparing a vinyl record to an MP3—you can feel the difference.
Nostalgia Without Parody: Lazerhawk doesn’t just mimic the ’80s; he reimagines them. Tracks like “Interstellar” and “Dream Machine” aren’t retro—they’re timeless.
Mood Over Lyrics: Most of Redline is instrumental, letting your brain fill in the blanks. Are you a cybernetic detective? A space trucker? A guy named Dirk with a sword collection? The album doesn’t judge.

And let’s not forget the aesthetic. Redline’s cover art—a sleek, retro-futuristic design—looks like it belongs on a VHS tape next to Akira or Tron. It’s the kind of visual vibe that pairs perfectly with Newretro.Net’s retro-styled watches and aviator sunglasses. (Speaking of which, ever notice how synthwave and vintage fashion go together like leather jackets and synth solos? Just saying.)

Lazerhawk’s Legacy: Building the Synthwave Playground

By 2012, Lazerhawk had already cemented his status as a synthwave legend. But Redline was just the beginning. The album inspired a wave of producers to embrace the genre’s nostalgic roots while pushing its boundaries. Want proof? Check out the “Masters of the Universe” compilation, which featured Lazerhawk alongside fellow pioneers and helped catapult synthwave from niche forums to mainstream playlists.