Lego Space 1978-1992 (Tim Johnson, 2023)

The cover of the book with some Lego characters added for flavor.

Apparently I am the coffee table book review guy now. I hesitated to pick this one up because I’d long ago scrutinized old catalogs and bricklink pages to learn about these old sets (and built a few of them even) so just seeing pictures wasn’t going to be revelatory, but I wanted to see what it had to offer.

Is the title appropriate?

My main complaint about this book is that it’s not quite what it says on the cover. It’s really three things:

  • Light biography of Jens Nygaard Knudson including behind the scenes information about Lego’s process.
  • An illustrated tour through the Space sets designed during his era with discussions especially about the elements and how they’re used.
  • A fanfic illustrating the type of things one might imagine while playing with lego sets.

The last item isn’t very engaging and I skipped most of it. It’s the type of thing that’s extremely fun to write and not necessarily what I want to read. Maybe there’s some larger story that emerges but the ones I did read were just vignettes. I don’t want to throw too much shade on a project clearly made with love.

The second item has some gems about pieces and is an interesting lens to look through but gets repetitive as the sets themselves get, well, repetitive. At times it felt like an exercise in trying to use as much aircraft jargon as possible or squeeze some sort of interest out of the third little seat with wings scooter vehicle we’ve seen. Reading that the rover is blue next to a photograph of a blue rover isn’t a great use of time. But don’t get me wrong, ‘this element was originally made for pirate ships’ is the type of interesting Lego lore I love. I really would have appreciated if the stat blocks listed the set’s designer though.

The the first, then, is the meat for the readers. It includes interviews with Lego employees from the era and other background color. What era you might ask? Knudsen’s era. What are they asked about? About the process yes, but also about Knudsen. I think a more appropriate title would have been “Lego Space: the Knudsen years.”

The Text

I’m going to focus on that piece. The Juice of this book, so to speak, is information about the creative work behind Space. But it’s also where I have the biggest bone to pick.

There’s interesting information on offer! Niels Milan Pederson says that he originally pushed for a Jules Verne 20000 leagues inspired Steampunk theme and that some of it was recycled into Aquazone (p28). Apparently Aquazone was designed in ’91 and ready to go before launching in ’95 without changes (p194) It should be noted that he sort of got his wish with the Stingrays which, despite the use of neon, have a fair bit of steampunk DNA with their browns and brassy prints.

The information that the famous light grid was an in-camera practical effect using converging wires to achieve the perspective look is really interesting and there’s definitely a magic to seeing how it was done.

Some of the the concepts are already well known having been printed in a highly recommended Brick Journal article a decade ago. Lots of M tron concepts on p155 and some amazing never before seen concepts on p156 and 157. And the fact that half of the concept shots are already known is a symptom: the era this book focuses on has been covered extensively in the past.

Is this enough juice to carry a whole book? I’m skeptical.

I still haven’t found my Lego Book

Several vintage Lego figures illustrating themes not covered in the book

For me personally, I’m once again left unsatisfied because they only covered the first half of Lego Space and neglected the more vibrant and colorful second half. None of the themes in that picture get treatment. Because it’s really about Knudson it for the most part misses the era of Space I find most interesting, 1990-2002. We get a (much appreciated) interview with Jørn Thomsen, but I want a full book devoted to his designs!

MELT (ELM Collective)

MELT is an anthology, and as such each track is pretty distinctive. It really pays to listen to each track closely here, as each individual artist has done a lot to make tracks memorable. The overall impression is an IDM treat with lots of delicious drum machine rolls and synths you can really sink your teeth into.

Dracul starts off the album on a strong note with metallic beats and an iconic synth melody.

This track has a couple of particularly well-executed change-up. It plays in a bunch of space that you usually wouldn’t hear in an IDM track. Lots of different sounds playing short sections of a melody in turn, chopped vocals, and other excitement.

Not only is this track great, but it introduced me to Iconic Black Suit who has a deep catalog, including Bionic Eyes Won’t Cry.

Ridebreak absolutely nails the Hangable Auto Bulb drums, but just as you think that’s all it’s going to be, it launches into this awesome soaring videogamey melody that carries the rest of the track. It took me a few listens to get into it.

Megadrive’s 199XAD: a return to form

We’ve now had synthwave for longer than the 80s actually lasted, so it’s fitting that MegaDrive’s latest release looks a bit further forward into the past. This won’t come as a surprise to anyone who has followed MegaDrive’s ascent into ever-denser industrial depravity, but the sound is a bit different this time around-lusher, brighter, and more of a mechanical edge.

Some tracks are specific callous to moments in ‘8X though-the abrupt drop from Operator into Gun Hag recalls the drop from Infiltration into Acid Spit (still one of the top five drops in Retrowave.) Unlike Acid Spit, though, Gun Hag keeps on delivering after the shock of the initial drop wears off-the melodic section really carries it’s weight here.

I could swear that H.exe is The Reducer but with more of a pluck sound and a more progressive beat.

The most 90s-flavored track has got to be SKULJammer, which hits hard with orchestra hit samples (think Mortal Kombat) over a blend of glassy pop synths and distorted beats. And like several other tracks, it challenges you to play “synth or guitar” as the heavy sounds come in.

Another callback is Crypt Diver, which has elements of Memory Dealer, but replaces the utter darkness of the latter with an almost chiptuney swagger, and a very cool glitchy breakdown at the end.

What stands out most is the way MegaDrive chooses to end each track. Rather than a period-accurate fade-out, here he opts more often for a twist ending, changing up the beat and making you listen all the way to the end every time, in a way that few dance tracks (most synthwave included) do.