Electronic artist Dubmood is pleased to present Force De Frappe, an original and hard-hitting synthwave album that features Dubmood’s Hotline Miami 2 track, “Richard,” and unused demo submissions as a foundation upon which to build a unique and twisted story about an evil Swedish defense system AI, a French nuclear deterrence program gone bad, and AI-built female androids flying vintage SAAB jet fighters over a dark Gothenburg archipelago in 1981.
Fans of the Hotline Miami 2 soundtrack should feel right at home as the entirety of Force De Frappe is heavily influenced by the soundscape and mood of the award-winning soundtracks to both Hotline Miami and its recently-released sequel.
Force De Frappe will release on December 21, 2015 in digital formats as well as on 12″ vinyl, C-60 cassette tape, and on a CD housed within a 5.25″ floppy disk via the renowned chiptune and electronic music label, Data Airlines. Pre-orders are now open.
Dubmood is a Swedish chip music producer ex-pat in Marseilles with roots in the pre-Internet software piracy scene. Long-time member of the infamous Razor 1911, active since 1996 and considered somewhat of a style-originator and reference in the chip music community, Dubmood has brought mainstream popularity to the genre and inspired hordes of kids to bring out their Game Boys and shout 8-bit on the Internet.
In 2004, Dubmood left cyberspace to tour the world in different coalitions, founded Data Airlines, and gained recognition as a popular producer and remixer. Dubmood’s music is best described as a dance floor-friendly fusion of ’80s computer game music, IDM and electro house
with a lot of indie rock and hip-hop references.
When performing live, Dubmood is Maskinoperater on drums, Zabutom on bass, and Gem Tos on guitar and vocals.
Data Airlines is a record label focused around retro-gaming, indie electronics, chiptune and retro-future design founded in 2006. Data Airlines is run by a crew of pilots from Marseille, France and Göteborg and Malmö, Sweden with roots in the demo and crackscene computer subcultures of the ’80s and ’90s.
Their vision is that in the age of Internet, it is important to exploit new technologies to make and spread good music without also forgetting the love for sound on physical media. Even though celebrating the sound of old machines, they do not intend to engage in pointless nostalgia or overuse of the aesthetics associated with the culture of the scene. They like bands and love live music.