Synth Quotes

Well, I’ve been a musician my whole life. When I was two, I would sing the theme from Star Wars in my crib; my mom taped it for proof. Then, when I was five, I asked for a violin. No one knew why I would want one, but my wish was granted and I ended up a classically trained fiddler by age 12. The only problem with that was, when you’re a classical violinist, everybody expects you to be satisfied with playing Tchaikovsky for the rest of your life, and saying you want to play jazz, rock, write songs, sing your songs, hook up your fiddle to a guitar amp, sleep with your 4-track recorder, mess around with synths, dress like Tinkerbell in combat boots, AND play Tchaikovsky is equivalent to spitting on the Pope.

the only wall we could ever build against What’s Going On was the glitter and the shine and the synth and the knowing grin that never stops knowing. The show. Because the opposite of fascism isn’t anarchy, it’s theater. When the world is fucked, you go to the theater, you go to the shine, and when the bad men come, all there is left to do is sing them down.

She tapped out a beat on the edge of the piano as I tripped and plummeted through the refrain of “Spacebar,” trying to translate the synth chords into a piano bit on the fly. It had been a million years since I’d played it. But it was still catchy. Whoever had written this song had known what they were doing.

I don’t care if he hangs out with Skream/Benga or whoever,” he spat, “it’s just pure nonsense to ruin a hardcore genre with gay synths, chopped chipmunk vocals and cheesy poppy shit just so you can make a shitload of money and be an icon to a fanbase that consists of 13 year old wannabe dubheads and doesn’t know shit about music.

A different time. The era of synth pop and mixtapes, hair gel and new wave. Of Prince and paramilitaries, Madonna and moving statues. Magdalene laundries, the Eighth Amendment, bodies as battlegrounds—pig slit and gaping. Different but the same. Absolution for the guilty but not for us.

Isn’t blood a woman’s ink?

The synth speaks to my soul.

This was different. It had synths droning and sending saltwater waves under my feet. It had drumbeats bursting like fireworks, rumbling the furniture out of place, and then a crazy, irregular, disharmonious, spiral crescendo of pure electric noise, like a typhoon dragging our bodies into it. It featured brass orchestras and choirs of mermaids and a piano in Iceland, all of them right there, visible, touchable, in Axton House. It shook us, fucked us, suspended us far above the reach of Help bouncing on his hind legs. It spoke of magenta sunsets and plastic patio chairs growing moss under summer storms rolling on caterpillar tracks. It sprinkled a bokeh of car lights rushing through night highways and slapped our faces like the wind at a hundred and twenty miles an hour. It pictured Niamh playing guitar, washed up naked on a beach in Fiji.

Prayers For Rain' begins like practically every Cure song, with an introduction that's longer than most Bo Diddley singles. Never mind the omnipresent chill, why does Robert Smith write such interminable intros? I can put on 'Prayers For Rain,' then cook an omelette in the time it takes him to start singing. He seems to have a rule that the creepier the song, the longer the wait before it actually starts. I'm not sure if Smith spends the intro time applying eye-liner or manually reducing his serotonin level, but one must endure a lot of doom-filled guitar patterns, cathedral-reverb drums and modal string synth wanderings during the opening of 'Prayers for Rain.

According to Buckmaster, the two were very taken at the time with Kraftwerk’s recently released Radio-Activity. This album caught Kraftwerk at a transitional phase of their career, channelling free-form experimentalism towards more tightly controlled, robotic rhythms that are like the sonic equivalent of a Mondrian painting. Radio-Activity is a clear influence on Low, with its mix of pop hooks, unsettling sound effects, retro-modernism; its introspection and emotional flatness. The theremin-sounding synths of “Always Crashing in the Same Car” and the electronic interludes on “A New Career in a New Town” in particular have a RadioActivity feel to them.

You're kidding me!" Vice Admiral Horth told her com screen. "The hell I am." There was just over a one-second transmission delay each way between Soissons Orbit One and Jefferson Field, and Admiral Marat's expression was less humorous even than the weapons fire in Horth's plot when he replied two seconds later. "We've got a rogue drop commando in an alpha-synth, Becky, and she's boosting out of here like a bat out of hell.

Feed into his ego, give him a target to hate, and claim to have the same goals, and the synth would fight to the death for your cause.

Only one synth for a whole song No chords, only melodies How long can you sustain one note in a song without it getting boring? How long can you sustain silence?

Everywhere they touched, my skin responded. It sent signals to the receiver, to the synth, to the amp, and the sounds were broadcast over the PA. I’d set it to translate this first song into a single key, so the notes built into chords, then broke apart. I had ways to distort, to sustain, to make a note tremble as if it were bowed. It was me: I was playing me; they were playing me. I was the instrument, the conduit, the transmutation of loss into elegy, song into prayer, my own prayers into notes, notes into song. Body and music, fingers and hands, they drew me out.

The dance took place on a viewpoint level of Tower Four. Each hour, the whole floor would make a single revolution, so couples at tables could see both the city and the ocean. This was by far its lowest-tech feature. The Synth-Bio Club had engineered all manner of plants and animals just for the occasion: grabby little tentacular vines that climbed up the walls, twirling maple keys that danced and spun in the air like pixies and spiralled up from whatever surface they touched, butterflies that dampened signal by flapping their Faraday wings. None of the students really noticed. They were too busy miming anal on the dance floor.

I thought synth food tasted slightly weird because the recipe in the system didn’t match what our chefs had prepared. The difference was less obvious with simple foods.

Two years earlier there hadn’t been a rave scene in the States. And now, seemingly overnight, the world had changed. Every decentsize city in North America now had DJ record stores and rave-clothing stores. Musicians were trading in their guitars for synths and making techno records that were becoming globe-spanning anthems. It was 1992 and the rave scene was blossoming like a shiny, DIY flower.

At the end of the song, the last chord I play sends the synth flying. It sails through the air and explodes when it lands, people dodging the synth-shrapnel left and right. You can tell it's the greatest thing that ever happened to them, this synth-bomb. The crowd goes wild.

I went into the control room with Mike and noticed a synthesiser on a desk in the corner. It was a MiniMoog. I’d never seen a real synth before, and it was a fascinating machine to look at. Dials and switches from one side to the other, the rear section tipped up like a portable control panel. In many ways it reminded me of the control panel my dad had made for me as a child, except this one looked incredibly high-tech. I’d always associated synths with prog-rock bands like Yes and ELP, and that sort of music had never really been of any interest to me. I’d liked some of what Kraftwerk had done, and really liked some of the things Bowie had done with Brian Eno, but none of it had ever made me think of synths as a way forward for me.

Her name was Zenophir, and she was a mother who lost her daughter, and now her mothers and fathers have lost her,” Netty-P said, then raised the auto gun she’d scavenged on the surface and put three rounds into the head of the synth on the right. She did not miss.

Baby Turtle Synth. Only the biggest concert of the year by the group of the decade was finally coming to our city. BTS is one of the biggest music groups in the Overworld! I have all their music discs. Their next concert is right here in Central City, and it’s this week! The tickets are impossible to get.

Packing was a nightmare. You don’t realise how much rubbish you accumulate throughout your life until you have to pack it. I actually found an old MiniMoog synth completely buried under vines that had grown into the attic space of the garage. I thought it had been stolen years before.

Vince saw the potential when he left Depeche Mode: he was like a technology hoover; he realised that with the technology at his fingers he could do everything, without being in a band. The synth duo was the thing. Vince was just like, ‘Whoa!’ I don’t think he liked the band dynamic, just because it’s too much discussion and too many egos – ‘All I need is a good singer and I can do the rest myself.’ And so the synth-pop duo was born – the Eurythmics, Soft Cell, Pet Shop Boys, Yazoo

By 1982, the synth had become so pervasive that it became the subject of a dispute initiated by the central London branch of the Musicians’ Union. When Barry Manilow toured the UK in January, he used synths to simulate the orchestral sounds of a big band, after which the union passed a motion to ban the use of synths, drum machines and any electronic devices ‘capable of recreating the sounds of conventional musical instruments’. They were particularly concerned about the possible effect on West End theatrical productions, imagining orchestra pits full of ‘technicians’ instead of musicians.

Bio-synth technology would bring eternal life to the masses, both rich and poor, and give the Alliance a more stable population to support their future expansion plans.

Paul Humphreys: In some ways it was a bit annoying when we found out about the likes of Gary Numan and the Human League, because we thought we’d found our alternative music, and all of a sudden we realised that all around the north of England people were listening to the same things we were – Kraftwerk and Neu! and Bowie and Roxy. Everyone had discovered synth. Synth was this new way to make music, this huge palette of sounds that had never been heard before. Our biggest influence was Kraftwerk, because they were classically trained musicians and so included harmonic structures in what they did. They were brilliant, but they did it in the simplest way. Simplicity, but with great melodies

There were girls here with fire-engine-red lips, and boys with such pronounced eyeliner that it looked permanent. And as you moved back to the dancefloor, the music overwhelmed you: Yellow Magic Orchestra, Space, Ultravox, Eno, Fad Gadget, Sparks, Grace Jones, Thomas Leer, Cerrone, Psychedelic Furs and Bowie, obviously, lots of Bowie. On and on it went, a constant swirl of automated Germanic beats – hard-edged European disco, synth-led, bass-heavy … all very angular: Kraftwerk and Gina X, Giorgio Moroder and Donna Summer, and some early Roxy Music.

Apparently, Paul McCartney and I were on the same wavelength that night, because five songs into the set, he played a number that only a small, demented fraction of the audience wanted to hear. And yet there he was, jamming on “Temporary Secretary,” seemingly oblivious to the mass confusion created by the song’s mind-bending mess of synth bleeps and slashing acoustic guitar and McCartney’s robo-ranting about needing a woman who can be a belly dancer but not a true romancer. I loved it, and I loved how the people around me didn’t love it.

LOW PRESENTS BOWIE AT THIRTY, IN ALL HIS CONTRADICTIONS: artist, hedonist, introvert, astral traveler, sexual tourist, depressive, con man, charmer, liar. Low, released in January 1977, was a new beginning for Bowie, kicking off what is forever revered as his “Berlin trilogy,” despite the fact that Low was mostly recorded in France. Side 1 consists of seven fragments, some manic synth pop songs, some just chilly atmospherics. Side 2 has four brooding electronic instrumentals. Both sides glisten with ideas: listening to Low, you hear Kraftwerk and Neu, maybe some Ramones, loads of Abba and disco. But Low flows together as an intensely emotional whole, as he moves through some serious psychic wreckage. For the first time since he became a star,

Danika Fendyr was the smart one. She stole the Horn from the temple, and you knew her well enough to finally realize what she did with it.” “Why would Danika have ever wanted the Horn?” Bryce asked innocently. “It’s broken.” “It was cleaved. And I’m guessing you already learned what could repair it at last.” Her heart thundered as Micah growled, “Synth.” She got to her feet, her knees shaking only slightly. “Governor or not, this is private property. If you want to burn me at the stake with all these books, you’ll need a warrant.

Micah purred, unaware of the camera mere feet away, “I saw the footage of you in the Comitium lobby. You gave your Archesian amulet to Sandriel. And she destroyed it.” His broad hand clamped around her neck, and Bryce squeezed her eyes shut. “That’s how I realized. How you realized the truth, too.” “I don’t know what you’re talking about,” Bryce whispered. Micah’s hand tightened, and it might as well have been his hand on Hunt’s throat for all the difficulty he had breathing. “For three years, you wore that amulet. Every single day, every single hour. Danika knew that. Knew you were without ambition, too, and would never have the drive to leave this job. And thus never take off the amulet.” “You’re insane,” Bryce managed to say. “Am I? Then explain to me why, within an hour after you took off the amulet, that kristallos demon attacked you.” Hunt stilled. A demon had attacked her that day? He found Ruhn’s stare, and the prince nodded, his face deathly pale. We got to her in time was all Danaan said to him, mind-to-mind. “Bad luck?” Bryce tried. Micah didn’t so much as smile, his hand still clamped on her neck. “You don’t just have the Horn. You are the Horn.” His hand again ran down her back. “You became its bearer the night Danika had it ground into a fine powder, mixed it with witch-ink, and then got you so drunk you didn’t ask questions when she had it tattooed onto your back.” “What?” Fury Axtar barked. Holy fucking gods. Hunt bared his teeth, still forbidden from speaking. But Bryce said, “Cool as that sounds, Governor, this tattoo says—” “The language is beyond that of this world. It is the language of universes. And it spells out a direct command to activate the Horn through a blast of raw power upon the tattoo itself. Just as it once did for the Starborn Prince. You may not possess his gifts like your brother, but I believe your bloodline and the synth shall compensate for it when I use my power upon you. To fill the tattoo—to fill you—with power is, in essence, to blow the Horn.

Did you learn, in all your research, that I am an investor in Redner Industries? That I have access to all its experiments?” “Oh fuck,” Isaiah said from across the pit. “And did you ever learn,” Micah went on, “what Danika did for Redner Industries?” Bryce still crawled backward up the stairs. There was nowhere to go, though. “She did part-time security work.” “Is that how she sanitized it for you?” He smirked. “Danika tracked down the people that Redner wanted her to find. People who didn’t want to be found. Including a group of Ophion rebels who had been experimenting with a formula for synthetic magic—to assist in the humans’ treachery. They’d dug into long-forgotten history and learned that the kristallos demons’ venom nullified magic—our magic. So these clever rebels decided to look into why, isolating the proteins that were targeted by that venom. The source of magic. Redner’s human spies tipped him off, and out Danika went to bring in the research—and the people behind it.” Bryce gasped for breath, still slowly crawling upward. No one spoke in the conference room as she said, “The Asteri don’t approve of synthetic magic. How did Redner even get away with doing the research on it?” Hunt shook. She was buying herself time. Micah seemed all too happy to indulge her. “Because Redner knew the Asteri would shut down any synthetic magic research, that I would shut their experiments down, they spun synth experiments as a drug for healing. Redner invited me to invest. The earliest trials were a success: with it, humans could heal faster than with any medwitch or Fae power. But later trials did not go according to plan. Vanir, we learned, went out of their minds when given it. And humans who took too much synth … well. Danika used her security clearance to steal footage of the trials—and I suspect she left it for you, didn’t she?” Burning Solas. Up and up, Bryce crawled along the stairs, fingers scrabbling over those ancient, precious books. “How did she learn what you were really up to?” “She always stuck her nose where it didn’t belong. Always wanting to protect the meek.

Micah’s smile was hideous. “She made no secret that she kept an eye on the synth trials, because she was keen to find a way to help her weak, vulnerable, half-human friend. You, who would inherit no power—she wondered if it might give you a fighting chance against the predators who rule this world. And when she saw the horrors the synth could bring about, she became concerned for the test subjects. Concerned for what it’d do to humans if it leaked into the world. But Redner’s employees said Danika had her own research there, too. No one knew what, but she spent time in their labs outside of her own duties.” All of it had to be on the flash drive Bryce had found. Hunt prayed she’d put it somewhere safe. Wondered what other bombshells might be on it. Bryce said, “She was never selling the synth on that boat, was she?” “No. By that point, I’d realized I needed someone with unrestricted access to the temple to take the Horn—I would be too easily noticed. So when she stole the synth trial footage, I had my chance to use her.” Bryce made it up another step. “You dumped the synth into the streets.” Micah kept trailing her. “Yes. I knew Danika’s constant need to be the hero would send her running after it, to save the lowlifes of Lunathion from destroying themselves with it. She got most of it, but not all. When I told her I’d seen her on the river, when I claimed no one would believe the Party Princess was trying to get drugs off the streets, her hands were tied. I told her I’d forget about it, if she did one little favor for me, at just the right moment.” “You caused the blackout that night she stole the Horn.” “I did. But I underestimated Danika. She’d been wary of my interest in the synth long before I leaked it onto the streets, and when I blackmailed her into stealing the Horn, she must have realized the connection between the two. That the Horn could be repaired by synth.” “So you killed her for it?” Another step, another question to buy herself time. “I killed her because she hid the Horn before I could repair it with the synth. And thus help my people.

Bryce was shaking. Hunt was, too. “So you went to the apartment and killed her and the Pack of Devils?” “I waited until Philip Briggs was released.” She murmured, “He had the black salt in his lab that would incriminate him.” “Yes. Once he was again on the streets, I went to Danika’s apartment—your apartment—disabled the Pack of Devils with my power, and injected her with the synth. And watched as she ripped them apart before turning on herself.” Bryce was crying in earnest now. “She didn’t tell you, though. Where the Horn was.” Micah shrugged. “She held out.

Bryce demanded, “And summoning the kristallos these months? The murders?” Micah drawled, “I summoned the kristallos to nudge you both along, making sure it kept just enough out of camera range, knowing its connection to the Horn would lead you toward it. Injecting Tertian, the acolyte, and the temple guard with the synth—letting them rip themselves apart—was also to prompt you. Tertian, to give us an excuse to come to you for this investigation, and the others to keep pointing you toward the Horn. I targeted two people from the temple that were on duty the night Danika stole it.” “And the bombing at the White Raven, with an image of the Horn on the crate? Another nudge?” “Yes, and to raise suspicions that humans were behind everything. I planted bombs throughout the city, in places I thought you might go. When Athalar’s phone location pinged at the club, I knew the gods were helping me along. So I remotely detonated it.” “I could have died.” “Maybe. But I was willing to bet Athalar would shield you. And why not cause a little chaos, to stir more resentment between the humans and Vanir? It would only make it easier to convince others of the wisdom of my plan to end this conflict. Especially at a cost most would deem too high.

Bryce slowed her retreat as she winced in pain, “And the apartment building? I thought it was Hunt, but it wasn’t, was it? It was you.” “Yes. Your landlord’s request went to all of my triarii. And to me. I knew Danika had left nothing there. But by that time, Bryce Quinlan, I was enjoying watching you squirm. I knew Athalar’s plan to acquire the synth would soon be exposed—and I took a guess that you’d be willing to believe the worst of him. That he’d used the lightning in his veins to endanger innocent people. He’s a killer. I thought you might need a reminder. That it played into Athalar’s guilt was an unexpected boon.” Hunt ignored the eyes that glanced his way. The fucking asshole had never planned to honor his bargain. If he’d solved the case, Micah would have killed him. Killed them both. He’d been played like a fucking fool. Bryce asked, voice raw, “When did you start to think it was me?” “That night it attacked Athalar in the garden. I realized only later that he’d probably come into contact with one of Danika’s personal items, which must have come into contact with the Horn.” Hunt had touched Danika’s leather jacket that day. Gotten its scent on him. “Once I got Athalar off the streets, I summoned the kristallos again—and it went right to you. The only thing that had changed was that you finally, finally took that amulet off. And then …” He chuckled. “I looked at Hunt Athalar’s photos of your time together. Including that one of your back. The tattoo you had inked there, days before Danika’s death, according to the list of Danika’s last locations Ruhn Danaan sent to you and Athalar—whose account is easily accessible to me.” Bryce’s fingers curled into the carpet, as if she’d sprout claws. “How do you know the Horn will even work now that it’s in my back?” “The Horn’s physical shape doesn’t matter. Whether it is fashioned as a horn or a necklace or a powder mixed with witch-ink, its power remains.” Hunt silently swore. He and Bryce had never visited the tattoo parlor. Bryce had said she knew why Danika was there. Micah went on, “Danika knew the Archesian amulet would hide you from any detection, magical or demonic. With that amulet, you were invisible to the kristallos, bred to hunt the Horn. I suspect she knew that Jesiba Roga has similar enchantments upon this gallery, and perhaps Danika placed some upon your apartments—your old one and the one she left to you—to make sure you would be even more veiled from it.

Full of clear liquid. “Calling me names isn’t going to stop me from using the Horn.” Hunt’s breath sawed through his chest. Micah advanced on her. “The Horn’s remnants are now embedded in your flesh. When I inject you with synth, the healing properties in it will target and fix whatever it finds to be broken. And the Horn will again be whole. Ready for me to learn if it works at last.” “You’d risk opening a portal to another fucking world in the middle of Crescent City,” she spat, inching farther away, “just to learn if it works?” “If I am correct, the benefits shall far outweigh any casualties,” Micah answered mildly as a bead of liquid gleamed on the syringe’s tip. “Too bad you will not survive the synth’s side effects in order to see for yourself.

Lehabah was dead. Bryce’s fingers curled into claws at her side. The red light of the warning alarms washed over her vision. She welcomed the synth into her heart. Every destructive, raging, frozen ounce of it. Bryce crawled for the front door, broken glass tinkling. Power, hollow and cold, thrummed at her fingertips. She grabbed the handle and hoisted herself upright. Yanked the door open to the golden light of late afternoon. But she did not go through it. That was not what Lehabah had bought her time to do.

Hypaxia murmured, “The antidote is working. It’s working on her.” Hunt swayed then. He said to the witch, “I thought you were only sending over the venom.” Hypaxia didn’t take her eyes off the screen. “I figured out how to stabilize the venom without needing to be present, and—I sent the antidote to her instead. Just … just in case.” And they’d watched Bryce down it like a bottle of whiskey. It had taken almost three minutes for the antidote to wholly destroy the synth in Hypaxia’s clinic. Neither Hunt nor the witch-queen took their eyes off Bryce long enough to count the minutes until the synth had vanished from her body entirely.

At some point Hans Zimmer came on board. This is the same Hans Zimmer who later went on to compose soundtracks for Gladiator, The Lion King, Inception, etc., but back then was a 23-year-old budding keyboard genius who came with his very own Prophet-5, which was a five-note polyphonic keyboard. The Prophet-5 was something of a revelation. Prior to that we’d been using our old Polymoog synth, which as well as being a bit temperamental, lacked the ability to ‘remember’ sounds. The Prophet-5 allowed you to program a sound and then save it to patch memory, meaning you could recall your programmed sound at the touch of a button.

The nascent synth-poppers probably didn’t know it yet, but they were waiting for a bit of kit called a Fairlight CMI, the first digital sampler. Not that they could have afforded one. In 1982, a Fairlight would set you back at least £18,000. It always makes me laugh when people say things like, ‘Back when £18,000 was a lot of money.’ It still is. Who’s going to turn their nose up at £18,000? The thing is that in 1982, £18,000 was an enormous amount of money – it would buy you a house.

Bryce didn’t smile. Didn’t say anything other than, “Who’s selling synth in the river?” The grin vanished from Tharion’s face. Hunt began to object, but the mer said, “Not in, Legs.” He shook his head. “On the river.” “So it’s true, then. It’s—it’s what? A healing drug that leaked from a lab? Who’s behind it?” Hunt stepped up to her side. “Tharion—” “Danika Fendyr,” Tharion said, his eyes soft. Like he knew who Danika had been to her. “The intel came in a day before her death. She was spotted doing a deal on a boat just past here.

Synth is synthetic magic, Bryce. To replace real magic. Of which you have none. It gives humans Vanir powers and strength for like an hour. And then it can seriously fuck you up. Make you addicted and worse. For the Vanir, it’s even riskier—a crazy high and superstrength, but it can easily turn bad. Danika didn’t want you even knowing something like that existed.

While I waited for my food I padded in my slippers down the hallway to my studio and turned on the equipment. First the power strips, then the synths and samplers. Then I loaded the discs into my Akai samplers, listening to them whir and click quietly as they took code from the discs and loaded it into their Japanese sampler brains. I climbed under a table and turned on my Soundcraft twenty-four-channel mixing desk, and finally I turned on the power amplifier for the speakers. My studio was up and running and making the calm hum that is the quiet background noise of a studio, like distant traffic or a beach at night. I didn’t know what I was going to work on, so I loaded up some old gospel samples I’d had for years but never figured out how to use. Years ago I’d written a fast euro track called “Why Does My Heart?” that used these samples. Luckily I’d never released it, as it was pretty bad.

Then I thought, Maybe it doesn’t need a bass part as much as it needs a bass sound. I turned on my Roland Juno-106 synth and created a very simple and understated bass sound. All low end, no attack, no high end. Just simple, anchoring bass. I played it over the chords and it worked. Most people wouldn’t even notice the bass; it just sat there underneath the song, holding it together.

Was she killed by whoever is creating the synth? If she was on that boat to seize their shipment?” She tucked a strand of hair behind her ear. “Could the person selling the synth and the person searching for the Horn be the same, if the synth can possibly repair the Horn?

I’d allowed myself to become very out of touch with the latest technologies. I’d used samples but didn’t really know how sampling worked. I’d used sequencing but, again, didn’t really know how sequencers worked, and so on. Synths had moved on, but those advances had escaped me. My reliance on the PPG, and my reliance on Mike and Ian operating it, had rendered me a technical dimwit. It amazed me how quickly I’d lost touch. It seemed like only yesterday that I was on top of everything and now just a review of a new synth read like a foreign language.

Ben Belkassem had boned up on the alpha-synths after DeVries stole this ship. Too much was classified for him to learn as much as he would have liked, but he'd learned enough to know her augmentation didn't include the normal alpha-synth com link. Without it, the AI should have been forced to communicate back by voice, not some sort of … of telepathy! Yet he was beyond surprise where DeVries was concerned. After all, she'd survived multiple disrupter hits with no more than a few minor burns, killed eleven men saving his own highly-trained self, taken out a few ground-to-space weapon emplacements, escaped through the heart of Wyvern's very respectable fortifications, and polished off a destroyer as an encore. As far as he was concerned, she could do anything she damned well liked.

Jimmy laughed. The thing was a computer terminal, he said. It could talk. And not in a synth-voice, but with a beautiful arrangement of gears and miniature organ pipes. It was a baroque thing for anyone to have constructed, a perverse thing, because synth-voice chips cost next to nothing.

The movie resumed. The retro synth vibes were awesome; the hairstyles and clothing had us in stitches. With no nostalgia

If anything they looked like an unholy Latino electro-synth rock band, fronted by a man who already seen too much of life.

Enjoy talking to your parents, Bryce. They're alive. Don't miss out on a moment of it. Not for this.' She still looked like she'd object, insist they go hunt down the synth, so he said, 'I wish I had that luxury.

Pippa said, “I don’t see how it can possess more power than ours, though. It’s smaller than our models.” The quicksilver-bright suit would stand about seven feet high. “You know what you’re looking at?” Ruhn asked Hunt, scratching his head. “It’s like a robot,” Bryce said, peering into the box. “It’s not,” Hunt said. He rocked back on his heels, mind racing. “I heard rumors about this kind of thing being made, but I always thought it was a long shot.” “What is it?” Pippa demanded. “Impatient, are we?” Hunt mocked. But he tapped a finger on the suit. “This metal has the same makeup as gorsian stones.” He nodded to Bryce. “Like what they did with the synth—they were seeking ways to weaponize the gorsian stones.” “We already have them in our bullets,” Pippa said smugly.

Ruhn asked, “Why’s your heart racing?” Bryce peered at her chest, half expecting her scar to be glowing. Mercifully, it lay dormant. “Well, apparently Tharion thinks Danika was involved with the rebels.” Ruhn gaped. “Thanks, Bryce,” Tharion muttered. Bryce threw him a saccharine smile and explained Tharion’s investigation to Ruhn. “Well?” Ruhn asked when she’d finished, his face drained of color. “Was Danika a rebel?” “No!” Bryce splayed her arms. “Solas, she was more interested in what junk food we had in our apartment.” “That’s not all she was interested in,” Ruhn corrected. “She stole the Horn and hid it from you. Hid it on you. And all that shit with Briggs and the synth …” “Okay, fine. But the rebel stuff … She never even talked about the war.” “She would have known it’d endanger you,” Tharion suggested. Hunt said to Tharion, “And you’re cool with being press-ganged into working on this shit?” His face remained paler than usual. Tharion just crossed his long, muscular arms. Hunt went on, voice lowering, “It won’t end well, Tharion. Trust me on that. You’re tangling in some dangerous shit.” Bryce avoided looking at the branded-out tattoo on Hunt’s wrist. Tharion’s throat bobbed. “I’m sorry to have even come here. I know how you feel about this stuff, Athalar.” “You really think there’s a chance Sofie is alive?” Ruhn asked. “Yes,” Tharion said. “If she survived the Hind,” Hunt said, “and the Hind hears about it, she’ll come running.” “The Hind might already be headed this way,” Tharion said thickly. “Regardless of Sofie, Emile and his powers remain a prize. Or something to be wiped out once and for all.” He dragged his long fingers through his dark red hair. “I know I’m dropping a bomb on you guys.” He winced at his unfortunate word choice, no doubt remembering what had happened last spring. “But I want to find this kid before anyone else.” “And do what with him?” Bryce asked. “Hand him over to your queen?” “He’d be safe Beneath, Legs. It’d take a damn long while even for the Asteri to find him—and kill him.” “So he’d be used by your queen like some kind of weaponized battery instead? Like Hel am I going to let you do that.

who must sense that he’s suddenly become the center of attention. He lifts his smooth feathered head and cracks out a series of coarse kraas! which sound way too loud for this early in the morning, and I’m wondering if the Insubordinates, our fellow rebels who are sleeping in the dozens of other rooms on this floor, think we’re in here running an aluminum garbage can through a corn-thresher. Manthy clamps her hands over her ears, and Cardyn puts his finger to his lips in a pointless effort to tell Render to be quiet. Render barks out another string of raspy kraas! and then spreads his wings and suddenly seems gigantic, like a prehistoric flying dinosaur or something. I don’t need to activate my psychic connection with him to know what’s on his mind: he’s hungry, and he doesn’t like being cooped up. It was comforting for me to know he was in here with us all night but having lived his life in the boundless mountain air, he’s not a big fan of walls or ceilings. I hop up from the end of my cot and go over to the window. I’ve barely got it open when the familiar woosh of feathery purplish-black whizzes by my face, and Render is soaring out over the quiet city with the first pinkish rays of the morning sun lighting him up like a glistening missile. This is our first time in such a big city, and I panic for a second as I watch him disappear into a forest of tall office buildings of reflecting black glass and synth-steel. I let out a long, soft breath when I spot him banking and circling as he happily scouts around the city for something he can scavenge for breakfast. I turn back to Brohn and the others just as the door to our room creaks open on old-style metal hinges to reveal Wisp and Granden, and I’m suddenly shaken out of the illusion that we’re all just a bunch of normal teenagers in a normal situation