Gone From My Sight’s ‘Twenty Twenty’ Is Existential Synthrock Record To Cry & Laugh

You can rock it either way.

Comprised of Quinn Raymond and Keith Watts, Gone From My Sight is a duo that tackle heavy-hearted themes with unapologetic honesty – even if it may be self-mocking. In their own words, their sound is “Basically, it’s lo-fi indie synth rock with hand claps and an 808, and a very sad, paranoid voice wondering why we’re all here, where we’re going after, and if it even matters.” The duo is set to release their upcoming album Twenty Twenty, out on October 16, where they explore debilitating anxiety, romance, and hopelessness.

The opener “Chrome Dynasty” starts off with a quiet, minimalistic beats that surmount into chest-swelling moment. Lyrically, it channels the feeling of dissociation one can feel even in the most crowded place. “Round and round and round we go / It’s all the same it’s all we know / But it’s not us.” The following piece, “Voices on a Plane,” is filled with longing as the duo describe the feeling of being away and homesick. “You will never understand / The world is out of reach.” Layered with finger-snapping rhythms, “Voices on a Plane” engages you in an intricate waltz. In “Selfish,” the shivering synths and dripping keys flow with the motoric croons “Me and myself,” boxing you in a contemplative me-time session.

“Bashed” has a futuristic tone to it as the combination echo-drenched choruses and semi-autotune make you feel like you’re at a robot’s concert. In “The Float,” the duo take on a more meditative approach as they tap into existential hollowness using space and shadow metaphors. “And it’s Dark / There’s no light / Thoughts they appear / In white hot heat.” And if you thought this was enough mediation for the day, they take a notch up in “Choir.” It’s the most eccentric piece in the album where the stretchy beats and eerie choruses produce a melodic suspense without upping the tempo.

The most intimate moment of the record arrives at “Damon” where the dripping piano and softcore choruses invites us into the vulnerable corners of their mind as they capture the constant struggle and loneliness one goes through mentally. “Nothing ever sounds like it does in my head.”  The following piece “Big Day Out” conveys the same form of isolation and disconnection we often feel with others. The final piece “The Morning After” starts off with baby coos before the cinematic beats kick in and we are suspended into a sea of throbbing synths. The choruses are indistinguishable, but there’s an undeniable sense of catharsis that it offers. With this, Gone From My Sight exists Twenty Twenty leaving us with a mixture of sadness, pleasure, but mostly with a stronger connection to ourselves.

Twenty Twenty will be out on October 16th. You can check it out on BandCamp.