New Transmissions: The Relaxed High Energy of Perfect Female Type

New Transmissions

Sep 29

*Jason Herrboldt, the artist behind Perfect Female Type*

It’s a strange and wonderful thing when a song can feel both fast and calming at the same time. That’s the weird dichotomy at the heart of "Rosanna," the latest track from Perfect Female Type. A relentless but not overpowering beat drives the song forward, complemented by the sound of beautiful analog bells. It gives you a rush of pure 80s synth feel—a relaxed high energy. Then, halfway through, the beat drops out for a beautifully atmospheric pause before building right back to that glorious, driving sound. The song feels familiar, yet completely unique. After listening, there's no doubt in my mind: this is top-tier sound engineering and design from a producer who is completely dialed in to his craft.

The Anatomy of "Rosanna"

That intricate sound design is no accident. When asked about the track's construction, Jason Herrboldt, the artist behind the project, offers a glimpse under the hood. He credits "Linn Drum kits, 16th-note bass notes, and big brass chord stabs" for the driving energy, while the atmosphere comes from "the classic Fairlight voice (think Moments in Love by Art of Noise), deeper keyboard patches... and bells. Lots of really pretty analog bells!" The track's title is also a deliberate choice, serving as a "love letter" to the iconic 80s hit by Toto.

The Veteran Producer

That level of polish and confidence comes from decades of experience. Herrboldt is a longtime Minneapolis-based producer who was honing his craft long before the current synthwave revival, noting that few things influenced him more than "growing up with Purple Rain." He was landing tracks on compilations alongside industry legends like Jazzanova, Nightmares on Wax, and Ian Pooley back in the early 2000s.

“It was a real shot in the arm to have that brush with success so early on in my career,” Jason reflects. “Now I can draw on those decades of experience when I try out new genres like synthwave, and feel a little more confident in the studio.”

The Perfect Female Type Paradox

The project's unique name has a story as layered as the music itself. The short answer? It's a nerdy, loving reference to a so-bad-it's-good 80s sci-fi thriller, Looker. But the longer answer reveals a deeper artistic motivation.

“I love the idea of women who fight back against the ideals of feminine perfection,” Jason, a self-described queer male feminist, explains. “I’m very attracted to the idea of women taking back their power... I thought the name might be a fun avatar for a more aggressive darkwave project. Unfortunately, somewhere along the line I wound up making sugary 80s pop music instead!” He credits fellow artist Chill Collins for encouraging him to keep the name, noting that "the last thing the synthwave world needs is another 'laser' this or 'arcade' that."

Escaping the "Dreaded One-Sixers"

Jason's decision to focus on synthwave in 2022 came after exploring everything from drum & bass to experimental dark ambient, and it came with a sharp critique of the genre's clichés.

“90% of the synthwave tracks I heard came across as deeply unoriginal variations of The Terminator Theme,” he says. “I called them ‘the dreaded one-sixers.’ It’s what makes the genre the genre, but my GOD it gets boring.” It was the few artists who broke that mold—like Juno Dreams and Saffari—that kept him inspired. After getting frustrated with the technical demands of other genres, he decided to focus all his energy on Perfect Female Type in 2023.

Juicing the Algorithm

That singular focus is now paired with a savvy, modern release strategy. Don't expect a full-length album anytime soon. “It's probably singles, collaborations, compilations, and remixes as far as the eye can see,” Jason states. He prefers to release a single every two weeks for most of the year to better stimulate the "almighty algorithm."

“If I have nine songs and I release them as an album, that's one social media campaign. If I release them as nine singles, that's nine social media campaigns over 18 weeks. If the goal is juicing my numbers, and let’s not pretend it isn’t, there’s just no comparison.” It's a refreshingly honest take from a veteran who has found his niche and knows exactly how to navigate the modern music landscape, all while fostering collaboration in the famously supportive retrosynth community, which he notes has "loads of support and camaraderie... and, unlike certain genres that shall remain nameless, zero attitude."