Syntree – Here We Go: Metal Meets Synthwave | Review
Syntree could have become a melodic metal band in the vein of Stratovarius or Helloween.
But its debut album Here We Go pushes the trio into very different territory.
What emerges is a disruptive project by the standards of Brazilian heavy music.
By Marcel CHAOS · Area Orbital · 2026-06-21
SYNTREE — HERE WE GO (2024)
Style: Synth Metal / Melodic Metal / Retrofuturistic Hard Rock
For listeners of: LeBrock, Midnight Danger
©2024 Independent Release
Syntree and Brazil’s Tradition of Reinventing Metal
Brazilian heavy metal has produced a few moments of aesthetic rupture.
Angra brought classical and Brazilian elements into albums such as Angels Cry and Holy Land.
Sepultura drew metal closer to Afro-Brazilian and Indigenous rhythms on Roots.
Syntree emerges in a different historical moment, yet with a similar impulse: bringing together musical languages that rarely meet.
On Here We Go, the trio of Tito Falaschi (vocals and guitar), Alex Curi (drums) and Dallton Santos (guitar) blends references from power metal, synthwave and synthpop.
The São Paulo group carves out an identity of its own within Brazil’s metal scene.
That approach becomes clear within the album’s opening minutes.
Before unveiling its strongest songs, Here We Go establishes the dialogue between melodic guitars, synthesizers and retrofuturist imagery that sustains the entire record.
Syntree opens a portal with the introductory track, “The Truth”. External interferences, like intergalactic radio signals, transport the listener back to the age of twin guitars and virtuosic solos.
At the same time, chopped synthpop textures and the long, sustained pads associated with synthwave also emerge.
The production remains clean throughout, allowing every instrument to be heard clearly.
The cover art, which places the three musicians beside a large portal with a futuristic city in the distance, reinforces the concept.
With this 2024 debut, Syntree avoids falling into déjà vu.
The Album’s Strongest Moments
Syntree has developed its own musical signature.
The drumming is expressive and measured, integrating kick drums, snare and cymbals with precision.
Lead guitars and strongly melodic vocals complete the picture.
By slowing down power metal and adding synthesizers, the band suggests another route for synthwave-influenced heavy music.
Reducing the speed and making room for sustained pads and feeling-driven guitar solos removes the epic urgency typical of power metal and creates a more reflective mood.
The result preserves metal’s strength while giving the synthesizers a structural role in the album’s musical narrative.
The mix also favours Tito Falaschi’s performance. His voice moves through different registers across the album.
From the introspective tone of “Forever” to the emotional lift of “Here We Go”, where the rise into higher notes expands the sense of openness already present in the composition.
“Falling from the Sky” stands out as a rock ballad built on a synthwave foundation rather than on guitar riffs.
“Close to My Heart” opens with synths in the style of Depeche Mode and unfolds through danceable grooves, rhythm guitar and a classical piano break.
But the fade-out, unfortunately, arrives too abruptly.
“Gates of Perception” leans heavily toward synthpop, with a more restrained vocal approach.
Yet if these songs reveal different sides of the band’s proposal, the title track is where they all converge.
“Here We Go”, with its infectious AOR melody, linear development and hard rock riffs, recalls the moment when Survivor took flight, carrying the listener on a journey through the universe.
The song begins with the sound of an LP being placed on a turntable.
You can hear the vinyl drop and the needle making contact.
If placed immediately after the introduction, the effect would have delivered pure 1980s immersion.
Because this album already carries enough retrofuturist traits to sustain that feeling.
The ingredients are clear: Layered guitar lines. Layered vocals. Solos. Subtle electronics woven into a traditional rock and metal foundation.
Synth Metal or Rockwave? The Challenge of Defining Syntree
Syntree’s proposal goes beyond the rockwave format explored by LeBrock or AX-80 and moves toward something closer to genuine synth metal.
That may sound strange to metal purists.
The music has weight, but the keyboards soften it.
The same applies to outrun purists, since the many guitar riffs and solos challenge the dominance of synthesizers and pulsing bass lines.
The question, in the end, is simple:
Should the band balance itself between these audiences, or fully embrace the personality of Here We Go?
Or should listeners themselves abandon closed musical territories and venture into this sound?
The challenge now is no longer proving that the idea works.
It is preserving that identity without diluting it.
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Fotos: TRM Press
© 2026 Area Orbital — All rights reserved.
This article is an original work by Marcel CHAOS, first published by Area Orbital (Brazil).
Reproduction of this content, in whole or in part, is not permitted without prior authorization.
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