When it comes to applying retro synth melodies to compositions that still hold up decades after some their 80s influences have long faded, the work of Richard Evans is hard to beat. His 2023 EP ‘Dream of The World’ brought the classic elements of Jean Michel Jarre and Tangerine Dream’s mid 80s soundtrack works into the then present, and by dropping in a few nods to very early Depeche Mode along the way, the short release also felt a little more lyrical and accessible in a “pop” sense. Part of its appeal also came from the brevity of the release: three songs was enough to get the measure of a great artist, but didn’t allow anything to feel repetitive.

Luckily, Richard’s compositional skills are strong enough to hold the attention over the course of a full album, and 2025’s ‘Quantum’ is a constantly interesting listen. The album’s opening track ‘Aidoru’ is every bit as good as anything from the previous EP, but it’s also somewhat “busier”. A pulsebeat signifies a fairly high tempo, over which keys share a very Japanese sounding melody. This sets a great base for Evans to build his world of electronica, and from there, the pulsing rhythms branch out into something a little more mechanical sounding, yet at the same time presemt something more melodic – almost like the heart of Jean Michel Jarre’s ‘Rendezvous’ era material has had a massive influence. Evans makes it his own with a world of sweeping sounds, an accented vocal and a bigger nod to synth pop, leading to something that – once you tune in – really works. The way he weaves a wavering melody straight from the early 80s into something that sounds more dance oriented is impressive, but in some ways, the track’s lasting appeal comes from the stilted feel to the vocal setting something otherworldly in motion.

In an instant change of mood, Evans uses a blanket of synths to weave an orchestral sound during the intro for ‘A Gift To All The Human Souls’, which he then uses to underscore parts of the rest of the number in a very Chris Lowe-esque fashion. This simple touch is in danger of becoming the tune’s dominant feature – partly because it feels so massively nostalgic – but the rest of his chosen sounds are also great. The drum loops sound like something lifted from Jarre’s ‘Equinox’; robotic voices deliberately pay homage to 80s Kraftwerk and counter the lyric that uses “human” as its main hook, and a steady beat feels more like something from the Orbital landscape. Not that Evans is being lazy, of course. He’s managed to take these absolutely classic touchstones and work them into something that’s still fresh; a synth pop number that’s simultaneously cold and very deep. What’s more, his chosen lyrical hook is very much a hook: from first listen, even with the vocal adopting a less than showy attitude, the chorus here really sticks. There are no weak links on ‘Quantum’, but this is very much a highlight. Probably even the highlight.

The title track works a few loops that sound like classic Evans in that the ghosts of mid 80s Tangerine Dream hover very ominously, but as with ‘…Human Souls’, the performer’s gift for weaving something familiar into something that sounds quite different really comes into its own here. The soundtrack worthy grumblings are off set by sharp piano stings from the Italian House movement, and a detached 80s vocal works brilliantly throughout. Interestingly, the chopping rhythms sound like they would work just as well in an industrial setting, but Evans avoids any desire to heavy things up, and instead, contrasts the harder edges with a huge keyboard solo that sounds like the work of Gershon Kingsley brought screaming into the present. ‘Make Believe’, meanwhile, takes a Jarre inspired backdrop, adds some dance-oriented rhythms and an ugly keyboard that sounds like a distant cousin of the intro to the ‘Bacchinale’ section of ‘Heaven & Hell’ by Vangelis, and the fusion of sounds promises something huge. It then totally wusses out and descends into a world of synthy pop that doesn’t quite reach its full potential, topped with a light vocal that feels a little unsure of itself. Heard in isolation, however, everything here is fine, and a coda featuring a pleasingly simple keyboard riff set above a synthy drone is great, but it certainly doesn’t scale the heights of ‘Quantum’s best songs.

Another standout, ‘If A Robot Cries’ drops some very Vince Clarke inspired keys over another huge drone, before steering into a world of brilliantly sharp synth pop. The nods to early Erasure remain strong via a steady programmed beat and a pop-ish verse, but a smooth vocal, bright piano and slightly detached feel take the chorus further into Visage territory. The marriage of two very different musical ideas creates something very interesting. Evans has managed to make something without warmth feel totally inviting, and in terms of giving the album a perfect homage to classic synth pop, this is pretty much perfect. ‘Quantum’ is an album that offers a lot of variety, but the cinematic sounds during the intro of ‘Universal Slave’ offer something different again. At the point where the slow and moody sound begins to take hold, though, it becomes clear that Richard has merely aimed to wrong-foot the listener, and what follows is an upbeat almost danceable piece of synth goodness. It never reaches fully for the dance market, of course, choosing instead to place a busy rhythm between a selection of swooning blankets of sound and bright sounding bleeps, but this is the perfect companion to another understated vocal, before dropping a very retro solo into the heart of the track. In terms of pulling most of the performer’s influences into a very accessible five minute workout, it does a near perfect job; the fact that it isn’t one of the album’s immediate highlights speaks volumes about the overall quality of Richard’s writing elsewhere.

Rounding out an already great release, Richard’s earlier single ‘Born Perfect’ takes an even deeper dive into the cold world of electronica, this time with a deliberately inhuman touch. The track utilises his usual mechanical beats and huge swathes of synth oriented sound, but with its use of filtered vocals, the song feels a little more pop-centric. This is very deliberate. Richard’s decision to make himself sound less inviting – much less natural – reflects the song’s lyrical content decrying the increased use of AI within the creative industry, creating something soulless. Not that the melodies here are in any way empty: you’ll find various nods to a classic 80s sound weaving in and out of the sheen, and a deep bass that veers towards reggae rhythms on occasion shows off an artist who is unafraid to experiment a little. If you’ve been following the progress of Richard Evans as a solo performer over the couple of years before this album’s release, then this will certainly appeal.

With eight really well formed tracks on a nine track album, ‘Quantum’ gives synth fans plenty to digest in terms of overall quality. Released at a time when vinyl has had a massive resurgence, this feels like a classic release that’s tailor made for two sides of shiny black plastic, since it never outstays its welcome, choosing instead to stick within a forty minute timeframe. It’s also the kind of album that requires the listener to be in the right mood to glean the very best from its colder aspects, but it’s safe to say that those who enjoyed ‘Dream of The World’ will find just as much to enjoy here. More, even, since this actually feels like a far more complete work. Recommended.

April 2025