With Hope, Slapper invites listeners into a deeply emotional and absolutely cinematic electronic journey shaped by powerful contrasts and reflection! Built across sixteen carefully crafted tracks, the album moves brilliantly through fear and release, tension and tenderness, darkness and renewal, creating a cohesive and compelling story told entirely through sound. Rooted in electronic music and synth pop, Hope excitingly expands its sonic palette with touches of melodic techno, trance energy, and atmospheric textures, all beautifully wrapped in warm analog tones!
From the opening moments of “Hope (For a New Dream),” the album sets a tone of quiet determination, using slow-building synth layers and steady rhythms to signal transformation and healing. Tracks like “Oxygen Kiss” and “Velvet Harp” gorgeously balance melody and rhythm with a genuine sense of vulnerability, while darker, more introspective pieces such as “Silhouettes” and “Among Night Creatures” explore shadowed emotional spaces through fragmented beats and thoughtful sound design. As the album unfolds, brighter moments emerge like sunlight breaking through clouds, guiding the listener toward calm and release in its satisfying closing chapter!
Created by Bucharest-based artist Claudiu-Gabriel Tache, Hope feels incredibly personal, intentional, and immersive. This is an album designed not just to be heard, but to be truly felt—an honest and powerful reflection of emotion, memory, and the quiet strength that emerges after the storm passes!
This is electronic music with a beating heart, and it’s absolutely captivating from start to finish!
Listen to Hope below
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Hope has a clear musical atmosphere. How did you set the tone for the album before you started writing the songs?
Before writing any tracks, I had a very clear emotional intention. I wanted HOPE to feel like a quiet inner journey — reflective, cinematic, and honest. Once that atmosphere was clear, the music naturally followed.
What sounds or musical influences played the biggest role in shaping this record?
The biggest influence was emotion, but the album draws from melodic electronic music, synthwave, ambient textures, and cinematic sound design. I grew up listening to instrumental music by artists like Jean-Michel Jarre and Vangelis, as well as soundtracks such as Miami Vice, Beverly Hills Cop, and Blade Runner, alongside synthpop and new wave. My last three albums — Music Box Memories, Mirrors, and Hope — were created by blending all these influences into a personal sound.
Can you walk us through your process of building a track on Hope—does it usually start with a riff, a beat, or a melody?
Most tracks start with a melody or atmosphere. Sometimes it’s a simple synth line or a chord progression that carries an emotion. Once that emotional core feels right, I build rhythm and structure around it. The beat is important, but it always serves the feeling — never the other way around.
How did you approach arrangements on this album, and were there any moments where you pushed your sound in a new direction?
Arrangements were very intentional. I treated each track like a chapter, focusing on flow and evolution rather than traditional builds. Compared to my previous albums, Hope feels more restrained but also more powerful because of that restraint.
Rhythm feels especially important across the album. How did you work with grooves and tempo to support the songs?
Rhythm on HOPE is subtle but essential. I focused on grooves that feel steady and grounded, almost like a heartbeat. Tempos are chosen to support introspection — not too fast, not too slow. The rhythm helps guide the listener through the emotional landscape without pulling attention away from the atmosphere.
Are there any tracks where experimentation really took over, musically speaking?
Yes, especially tracks like “Among Night Creatures.” That song allowed me to explore darker textures, unusual rhythms, and more abstract structures. Experimentation wasn’t about complexity — it was about letting instinct lead and trusting the mood, even when it felt uncomfortable. My fears, my panic, my nightmares — turned into music.
How did production choices impact the final feel of Hope? Were there specific textures or tones you were chasing?
I was chasing warmth, depth, and intimacy. I used soft, analog-style synths, layered pads, and subtle effects to create a sense of closeness. I avoided overly bright or aggressive sounds — everything needed to feel human, almost fragile.
What role did dynamics play on this album, from stripped-back moments to more intense sections?
Dynamics are essential to the storytelling. Quiet moments allow reflection, while more intense sections represent emotional release or clarity. I wanted contrast without shock — smooth transitions that feel natural.
Is there a song on Hope that best represents the musical core of the album? What makes it stand out to you?
“Oxygen Kiss” represents the core of the album very well. It captures the warmth, melody, and emotional openness that define HOPE. It feels like the first breath of the journey — accessible, honest, and emotionally clear — while still carrying the depth of the album as a whole.
How do you imagine the music from Hope translating to a live performance, and did live energy influence the studio versions?
I imagine HOPE as a very immersive live experience — focused on atmosphere, visuals, and emotional flow rather than high-energy performance. While the album wasn’t written specifically for the stage, I did think about how tracks would connect live, how they would breathe together. The idea is to create a shared emotional space between the music and the audience.
