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Otherworldly synth pop and self idealism in Magdalena Bay’s ‘Imaginal Disk’

Last year had seen contemporary pop music being flipped on its head, ushering in a new wave of maximalist style production. Synth pop duo Magdalena Bay, who dropped their second studio album, “Imaginal Disk,” on Aug. 23, 2024, is no exception to this. Produced by Mica Tennanbaum and Matthew Lewin, this ambitious album features an ethereal atmosphere, with inspirations ranging from science fiction, glossy consumerism and a small hint of The Beatles. Groovy and densely coated, the album squeezes its way into the listeners mindscape with its mix of alternative and psychedelic pop.

Ultimately, “Imaginal Disk” serves as a concept album, revolving around the character known as “True,” a figure that combines characteristics of both Tannenbaum and Lewin. The two musicians share a lot of similarities, as both of them are of Argentine descent. Throughout the album, the character of True comes to terms with self idealization, fears and anxieties after installing, and then rejecting, the album’s titular “Imaginal Disk.”

The opening track, “She Looked Like Me!,” begins with the disk being loaded up, implying a story of how True was conceived and grows up to meet an “idealized” version of themself. Immediately, the album establishes a pristine and dreamlike atmosphere, covered back to front in retro sounds that remind the listener of an ordinary yesteryear. The overlying theme of self perfection, as well as the back-and-forth pulling between love and hate, is brought forth by a combination of synthy distorted production and heavily layered vocals.

The song “Killing Time” is not only briskly and beautifully produced, but also pushes heavily on the anxiety of wasted potential. This can be interpreted as, how in today’s culture, a large majority of free time is spent mindlessly scrolling through social media content. However, this disposition is not necessarily one that leads everyday people in strife, but it serves as a reminder that killing time can sometimes kill our ambition. 

Following the track “True Blue Interlude,” in which True undergoes an evolution to become closer to perfection, the following track “Image” sees True meeting another character of “the Doctor” who helps bring True close to their perfect self. This track pulls from a mix of alternative, bass-heavy synth pop and subtle-disco inspiration, touching on how people will do anything to acquire their desired self image. 

True’s continued obsession of consumption, with the lines “only 22 more minutes” alludes to the average run time of a television show, also alluding to how people will latch onto various forms of internet and television media as a means to become someone different.

Over the course of “Imaginal Disk,” Lewin and Tennaunbaum also touch on contemporary themes of anxiety that come from romance, break ups and sex, stylized with a unique spin and influenced by science fiction media. The track, “Death & Romance,” with its piano lead in, psychedelic bass line and extremely pristine chorus, alludes to the idea of being left behind by an alien life form, resulting in a broken relationship. Meanwhile, the track “Fear, Sex” imagines True being at war with their ideal self.

One of the more underrated tracks of the album “Vampire in the Corner” refers to True rekindling a past relationship, bringing back the theme of push-vs-pull, the dynamic between obsessive attachment or fear, including the metaphor of the “vampire,” a sinister creature that can only be allowed inside your house if you decide to invite them in. 

The progressive rock-inspired “Tunnel Vision” serves as the turning point in True’s narrative, realizing the true nature of excessive consumption and self idealism brought about by inserting the imaginal disk, which results in coming to terms with oneself. True learns more about meaningful, romantic connections in the groovy, sample heavy “Love is Everywhere.”. 

The track “Angel On A Satellite” with its raw and glistering piano intro, mixing nostalgic chord progressions alluding to the previously mentioned “the Doctor” as being the “angel,” and True is able to find peace. The closer, “The Ballad of Matt & Mica” brings back the album’s motif with a glistering and positive chorus, where True, and to a greater extent, Lewin and Tennenbaum, recognize their unique dispositions, coming to terms with being both unordinary, but comfortably ordinary in an ever-chaotic world. 

Despite only being their sophomore foray into synth pop, Magdalena Bay’s “Imaginal Disk” is ambitious but beautifully executed, otherworldly but still grounded in unique sounds, fueled by meaningful inspiration while also touching on how we bind our feelings to impossible goals. Losing our identity in achieving our ideal self is a common issue in today’s world, and maybe some of us could take a trip of nostalgia, bliss and self discovery by inserting the imaginal disk ourselves. 


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