There is a beautiful scene in Lost In Translation where a sleep-deprived Bill Murray looks out the window of a car and sees Tokyo at night for the first time. That scene plays through my mind with each listen to the beautifully executed debut from Laura Dre. From the Hiroshi Nagai-inspired artwork to the Obi-strip packaging, the influence of Japanese city pop on Moving Spaces gives it a unique sonic framework that allows Dre’s songwriting to work its magic.
For fans of retro wave, the dark synths and late-night drum machines provide a soundtrack to sleepless nights alone or a basement dance floor in a seedy part of town. While the mood of the album remains consistent, the songs assert themselves in different ways and take the listener down lonely alleys where neon reflections paint the puddles on the street. Reference points on this trip range from Depeche Mode’s blackest celebrations (“Pulse & the Drive”) to the fierce, electronic glitter of Garbage (“Loving You Is A Beautiful Sin”). Every bit as powerful as Shirley Manson, Dre writes what she knows and doesn’t back down from the pain that comes with loving too strongly.
While Moving Spaces takes pleasure in the look and sound of the 80s, it takes a more global approach to its construction. Having lived all over the world, Dre’s music reflects those experiences in its freedom to explore different sounds. The music pushes and pulls you in a unique way that creates an emotional response far stronger than most contemporary synth pop. When that response is nostalgic, it still feels fresh. It took me a few listens before I realized that the beginning of “I Opened My Eyes” was triggering a Kajagoogoo “Too Shy” response in my brain but now I can’t shake it.
As the fruits of lockdown creativity start to arrive on our stereos, Laura Dre’s Moving Spaces will likely be one of the best realized musical visions. Each detail enhances the others and while the songs are more than strong enough alone, the combination of music, video, and artwork really sets this apart. It’s more than an album, it’s an experience and an escape. It’s sadness and hope set in a future that looks a lot like our past.