Odyssey
There’s nothing quite like a soothing introduction at the start of an album. I’m surprised at the choice of style, which starts off somewhere like a new age track, then slips gradually into the strumming of guitars. We’re lulled into the cradle of sounds colliding and dissipating at the end of the track, parting the way to the next track.

Michael Oakley & Ollie Wride – Wake Up!
It’s always a good time when Ollie Wride is involved, and this partnership of vocals is no doubt a dream come true. This feel-good track has lyrics that could warm the coldest heart. Living life to the fullest, accepting the good that comes, and setting fear aside are just a few golden tokens of motivation that can be found. Falling asleep at the wheel of life is not an option, so you better “Wake Up!” The harmonization between these two talented vocalists is hopefully foreshadowing more collaborations in the future.

Is There Anybody Out There? [Jon Campbell Radio Edit]
There’s a familiarity in the melody of this track in particular, and with it, the teenage angst and rebellious vibe are infused and uplifted by the chorus. The lyrics are endowed by the heavenly voice of Michael Oakley, and that familiarity supplements the spiral of repetition with the arpeggio. Chords lead up to the bridge, bringing us to the final blow of the choir. Finding someone we can relate to is the core message behind the track, and as we get older, we become further apart from who we thought we were in our younger years.

Babylon
The tone of this track opens up to a gradual climb, and Oakley’s voice entrances us into the next phase of the album. The biblical references continue forward, speaking of a heaven-like love endowed with a strength of proportions most dream of. The harmony of vocals paired with the proclamations of protection really bring the chorus together as it resounds through my speakers. The synth truly illuminates the culmination of percussion as the climax is reached, leading up to the delicacy of the sax, opening up a whole new wave of emotion.

Glasgow Song [Ft. Dana Jean Phoenix]
The city streets are bustling with life, and you can almost see the rain on the sidewalks, the grit beneath your feet, and I’m right there as the music befalls the atmosphere. This ballad between two heart-palpitating vocalists is exactly what we needed. The shatter of drums complements the ever-present synth keys and the clash of perfection fills my ears by Oakley and Phoenix’s duet harmonization. The lyrical tone expresses the longing of fate, the destination in the distance, and reaching out for what’s yours. I love that I can visualize the city lights and wet pavement of this journey well-traveled by two amazing artists who are dedicated to the nostalgia we crave. It feels almost like a testament to where they’ve been, where they’ve gone, and where they are headed. The bagpipes are a nice touch to bring reference to Glasgow full-circle, and I can’t help but appreciate it.

Real Life
What is “real” anyway? This song is a fantasy unencumbered by reality. Oakley’s revelations of love and broken hearts have always been irresistible to me in the way of lyricism and the way it manifests in his music. The saxophone returns pulling us into its somber solo moments. The way Oakley combines unique percussions with delicate chimes throughout this track makes it impossible not to keep track of its progression from verse to verse. We’ve all been brought to our knees when desire suppresses our hold on the buzzkill of what’s real. If there is any hope of returning to our memories, we easily trick the mind by reminiscing on what was.

Queen of Hearts
Starting off the track we have a slow and steady melody from the synth and Oakley opening with the main chorus. Roaming old home towns, unrecognizing yourself, and being unrecognized by familiar faces is a feeling we can resonate with to a certain degree. To Oakley, that might be more obvious. I find myself thoroughly enjoying the increase of bpm as the song progresses, and I’m also a little homesick myself so the kick-drum allows me to give into it. The tempo is familiar, the guitar chords dance along with the rise, and by the end, we’re laid down by the calm dissipation of the reverb.

When Stars Collide
I haven’t heard an intro like this since Dido’s “Thank you”, so I’m surprised, but I listen on. I notice the reference to Icarus and as a mythology buff, this is pleasing to hear. The pulse of the chords and the echoes of each word proceed to cradle me in a warmth that is uncommon. Is it the lyrics? Is it the melody? Perhaps it’s both. I’d say this track is more nostalgic of the ’90s and perhaps that was the goal Oakley had in mind. I think the synthwave scene is in the middle of an interesting shift between some of the other notable bands that have been incorporating more of

The harmonizations throughout this album remind me of a lot of Christian rock bands, which I can’t help but point out. Is Christianwave a thing? Anyway, my ADD brain aside, the lyrics point to signs of a love song, and perhaps a bit of overextending the gesture of what it is to be a person of faith. The way that I can interpret these verses vs what Oakley really meant to say may be far from the truth, but throughout the album resides multiple biblical references and verbiage that make it quite obvious to me that whatever kind of love Oakley shares with us is, perhaps, heaven-sent. This is solely an observation, and I invite you to listen and let us know what your thoughts are!

Hey Now

Off the bat, I admire Siamese Youth for their pop-rock essence as it’s infused with the electronic details that a synth provides. The vocals hit me like a truck right away! I ADORE how the melody interacts playfully with the lyrics. There’s passion in the percussion that amplifies the intensity of the chorus, and the scene is set like a cult classic movie ballad montage. “Hey Now” is the ultimate lovestruck getaway track to run away to, or win back the beau of your dreams.

So Far from Home

The next track takes on a slower note, and while there are widely arranged chords to strike nostalgia, there’s a taste of modern retrowave here and there. The dazzling chimes in the wake of the progression make themselves known against the airy, breathy seduction of the vocals. These lyrics are wise and methodical, in the sense that there’s a conversation between either one and another, or with oneself. It reminds me of the challenges we face living life as a loner, resorting to escapism rather than facing our demons.

Young Nights

Ahh, Summer Lovin’ is upon us. “Young Nights” is the perfect vibe for infatuations, blind naivety, and true love. I love the stadium feel that each of these tracks provides so far from the echoes and reverb. Instantly I appreciate the sample at the start of the track, which is from the 1959 film “The House on Haunted Hill”. It’s a conversation between Vincent Price, as Fredrick Loren, and Annabelle (Carol Ohmart) regarding their surprise ghost party and their guests. Interesting choice for a track that is so uplifting and pop-centric. I would have sooner expected this to be used in a darksynth track!

Making Me High

Ooof, these funky beats are dangerous and I love it. A night at the disco is just what the Doctor ordered. I’m enveloped by the smooth twang of the keys, and it’s over for me, I’m locked in and ready for the dance floor. These references within the lyrics, such as “chemical romance” {in track one, “Hey Now”) and “call in the wild” makes me smirk each time I catch them. Getting high from the first bite makes me think of edibles, and how edible a person could be under the right circumstances, romantically speaking.

Can I Be Me

The track begins with stadium-like nuances. There’s an energetic fusion between the guitar and the echoes of the vocals. As the suspense begins to build, the electric chords of the synth radiate with the guitar. A brilliant arrangement from the kick-drum combined with the melody is elaborate and entrancing. I enjoy the way the lyrics passionately express a message we can all resonate with. In a world that praises people for being influential and fake, being yourself is and should be valued beyond all else.

Where the Sun Shines

It’s 80’s montage time again – and Siamese Youth doesn’t hold back from these epic vibes. The synth is “radical”, the drums are “bodacious”, and I feel myself slipping back in time. Visions of being a mall rat come swimming back, and there’s nothing holding me accountable for enjoying these highlights of youth. This song, I believe, is the ultimate testament to 2020, and how it discouraged our dreams, isolated us, and confused our foresight into the future. Even now, during an age of uncertainty, we’re reaching for the memories before covid. We took so much for granted, and I firmly believe that we’ll be ever more appreciative of the little things moving forward.

Let’s Love

A neo-disco melody introduces us to this light-hearted track, and the inter-galactic rhythm takes us for a ride through a love story within the lyrics. Its powerful pop chord placements grip me to the core and provide a taste of what Siamese Youth is trying to portray with this song. If I follow the lyrics, it’s like the make-up from a breakup conversation. Internally, it’s adding further ambiance to the funk, and smoothly transitions from what we know and what we remember about our own love stories.

Take On Me Too

I enjoy the main chorus of this track and the claps really tie it together from the start. There are playful chimes and chip-tune-like elements throughout that making this a special testament to retro-classic dance beats. Lyrics like these bring out the most in me, in that I can apply them to any scenario, and maintain a groove. The interwovenness of love’s lost appeal and a confessional tale elevate the overall tone, and for that, I can appreciate it further.

United States of the Mind

The unification of differences has become the influx of the song’s message, and I’m here for it. I enjoy the way Siamese Youth uses chiptune generously throughout the track, and have applied some subtle similarities to EDM in between. I’m grateful for the vocals in how they shine a light on current issues with heavenly serenade. Encased in this electro-pop feel is the realization that coming together is the answer to our country’s problems if taken literally.

In Love

When summer is nearing the end, the question remains if the love found will continue on. Such a song as this fits the bill and answers the question is this eternal or a letdown. The lyrics speak to the parts of us that have had to let go and uproot our conviction to see a relationship through its trials and tribulations. The percussions play on our heartbeats and the colorful chords keep us lukewarm after a cold realization that the love we had wasn’t what we hoped it was.

I’d like to sign off with a note that I enjoyed the uniqueness of this album, and the way Siamese Youth bridge the gap between modern and retro-classic 80’s references. I look forward to what they have in store for the future and welcome them into the fold as artists that started with a cover of “All the Small Things” (totally worth the listen, by the way)

Just Drive (ft. Summer Haze)

WOLFCLUB’s first track serenades us into the getaway car of long-lost love with electric guitars and saxophone. Dreamy vocals encourage our flight response to “Just Drive” into the drum kick of the deeply nostalgic energy of our teenage summers of yesteryear. The way the lyrics carry bittersweet memories of those angsty runaway vibes sends chills up my spine! My late-night drives needed a boost of upbeat, poppy tracks to sing aloud to – and this track curbs that craving to roll the windows down, and jam without a care.

A Sea of Stars (ft. Dora Pereli)
You know when you read lyrics to a song you love, and it reaches too close to what you’re been feeling all along? This is the queen of heartbreak albums, with “A Sea of Stars” at number two on the album list, it’s no wonder why these emotions brew hot as I listen carefully to Dora wistfully and woefully sing into the night sky. Sailing away with a lover, wishing those moments could last a while longer. The melody adorns the melancholy tone of the lyrics in a deceptively light and happy rhythm. It’s difficult to walk away from such a beautiful song – but we have so many more to explore together.

Fever Dream (ft. Dora Pereli)
I find myself carried off the whimsical beat of drums, bass, and that warm guitar encloses in on the impersonated feeling of welcome, only to be whisked away by resonating vocals. Chasing the love we thought we had – who can’t relate to that feeling? As a writer, I admittedly get lost in the vocals of the song, and the story being told in each track. This track gives me “forgotten on prom night” vibes; tear-soaked tulle dresses and mature drinks at a bonfire. I love this inescapable trap of dismal desires that W O L F C L U B has created. Underlying this feeling of my heart being torn in two, I keep listening and contextualizing for the sake of fans everywhere feeling, singing, and dancing along.

Shoulder Blades (ft. Jaki Nelson)
There’s nowhere to run away from the intoxicating vocals of Jaki Nelson, and you won’t want to either. This retro dive into forlorn backseat breakup ballads is a deep-seeded memory we willingly uncover. The chorus churns the tension by way of electric guitar, and dances along the fingertips striking the heavy billow of the bass. The edge of that “forest where it all began” I know all too well. Jaki’s wail alone is gut-wrenching, and I swear I can feel exactly what she feels. The reverberation of her coos and the electronic echo wraps each gasp in color with chords. I don’t want to hide anymore either, Jaki.

One Last Night
Not many feelings are as powerful as the drum kick combination that permeates the start of this track. The same goes for the all-encompassing saxophone in every which way it is played, especially with the overwhelming emotion that sustains the melody. I know all too well the sting of time passing by before saying Goodbye to someone you don’t want to see go. If there were one last night where it was possible to get a lost love back and make it last, would you take the chance? Would the circumstance and consequences outweigh the outcome? There’s only one way to find out – but perhaps listen to this track first before you run out the door.

Promise (feat. Jaki Nelson)
The trailing arpeggiator dancing along the intro riles suspenseful excitement from within. Once Jaki belts out the proclamation of asking you to stay – who can say no? It’s not enough to hear these tracks, it’s vital to face the feelings that erupt. False promises, apologies, and damn that standalone moment of the percussion gets me every time! I’m swept into a deluge of delight every time we loop back to the chorus. Namelessly shameless love is only the cusp of meaning behind this song.

Who’s Gonna Be There(feat. Jaki Nelson)
The playful start is a loop of Jaki’s voice alongside the synth, and it’s the perfect introduction to the aftermath of the track we just listened to. Rewind the reminiscent memories, and fast forward to the part where our hearts fix themselves – the worst part is missing someone and living your life without them. “Who’s Gonna Be There” perfectly encapsulates those emotions, bottles them up, and offers them to you as we face the music.

Nostalgia
I love that this track welcomes alternating gender roles – because we see both sides to the untold story between Boy and Girl. Boy meets Girl, Girl falls in love – Boy doesn’t want to go. They part ways. It’s so uncommon to see in music these days without some stereotypical agenda – and this is an unraveling of emotions from one to the next. You ever have circumstances you can’t change and you wish you could change it for the right person? They know better, most of the time. Letting go or staying by their side is the hardest lesson to learn. But the “Nostalgia” helps us cope.

Serenity (Jaki Nelson)
Softened guitar strumming along to the electric echo of the synth is all we ever wanted – and Jaki’s vocals open it up into a torrential downpour of the heartbreak theme that we’ve now grown accustomed to. Personally, this becomes a growing ache from inside, and the hole inside of MY heart is growing bigger as I encourage myself to absorb this track entirely. I love the reverberation, the echoes, the ethereal electronic details intertwined in the lyrics, and it pulls at these heartstrings with ferocious effort.

Higher (feat. Jaki Nelson)
Ah yes, the warm guitar before the painful memories replay. I’m shutting my defense mechanisms out, allowing the music to rush over me, and that arpeggio is thumping as quickly as my heart, and there’s nothing left to do but stare down the erupting emotions head-on. I’m lost in the waves and embracing it. So, here we go. “Higher” speaks to me on multiple levels, as a girl, and as a woman. There’s much to be said about those sweet nothings as their murmured in your ear, and eventually, there’s a bittersweetness to it. It’s all here, loneliness, unkept promises, and the result of the unresolved. The closure resides somewhere between the clash of the cymbals and the descending tempo as we move closer to the finale.

Oceans
The plot thickens when we realize the distance between these star-crossed lovers. The voice of the W O L F C L U B prince returns, and we’re learning more about what truth remains in focus. The intoxication of the synth, the powerful bridges and the quietness of the solo vocals make this track simply heaven-sent. I’m caught in the undertow of unrequited love, the heartfelt hang-ups, the distance isn’t just heard; it’s understood.

Famous
The great getaway, the track that finished us off and rounds up the theme, is even better than I could have imagined. It’s a profound calling out of manifesting that fame that W O L F C L U B strives to achieve. I’m feeling enthralled by the swiftness of the beat, the arpeggio again lighting up the senses, and of course, vocals to steal the show. I really love this highlight of an ending, and it’s a chance to shake off the emotional rollercoaster that is this album, as much as I adore unpacking new and old wounds of the heart.

The destination has been reached for Just Drive Pt. 1, and honestly, I’ve never felt more understood. This album split me apart in ways I never realized I could. W O L F C L U B has always been able to find the magic behind sadness, love, and so much more outside and in between. I love an album that beckons me to dig deep to my core – and that it did. I am woefully pleased, and my weaknesses are on my sleeve, and after days of listening, I’m looking forward to W O L F C L U B’s next release.

Eternal Champion:
This song starts off with a trailing lead that intensifies over time, suddenly the bass is masked over by the guitar. By the time the synthesizer kicks in, it is obvious what is artificial and what’s real. This is the time to reminisce over 80s action movie vibes that we’ve long forgotten. 

Thunder Warriors:
I love the sinister thunderclap of this intro and how it ushers the guitar into a deadly vibe. Then the trajectory of the mood stops and the remainder of the track descends into an alternate personality. The theme seems to project an introduction of various elements, from guitar, to synth, to drum kicks. Once brought together, and the synchronicity is taken seriously, it strives to finish off with a stronger note than the initial chorus.

Coin Theif:
I’ll leave the introduction up to you to decipher, but what I really want to discuss is the crescendo and everything after 1:18. I firmly believe that this could have been its own track, and I would have been obsessed with it. The richness of the electronic elements provides a breath of fresh air, away from the start of the track. The electric guitar is slowly introduced back into the fray and makes for an enjoyable ride towards the end. 

Miracle Mission:
A slick, repetitive arpeggio and series of futuristic chimes grace our ears as we plunge into the next track, leading us into the trap of heavy guitar, drums, and bass. It’s almost like the electronic elements are under attack and forced to battle the 80’s hair metal nostalgia. There are parts of this track that seem to fall apart from the original theme, then get carried away into another.

Night Owl:
This next track smashes into the scene with fast-paced electronic chords followed by the thrashing energy of the guitar. Much of this track sounds to me like a boss fight. The cryptic variables within it prey upon the audible senses as an assertive means to grab your attention by the ears. There’s no need to take your foot off of the pedal, we’re deep within the confines of Dark Synthrock, and there’s no turning back.

The Runner:
Alongside the deafened choir raises a synthy cascade. Once the bass kicks in, our backs are against the wall and the progression of tempo hastens. The digitized down-tempo bridge is a playful and powerful method to keep both the guitar and synthesizer relevant rather than rivaling to claim their own territory.

Summoner:
Out of the vestiges of the darkest void emerges “Summoner”, which no doubt leaves me to assume that most of this album’s track titles reflect DnD references. The colorful melodies and enraged guitar chords synchronize into harmony over the punchy percussion. Laying waste to the litany of arpeggios and coordinated chimes.

Paladin:
Synthwave, Retrowave, and other sub-genres truly make it known that nostalgia can be masterfully applied and at times unknowingly refracted from a particular track as a mere reminder of something old but sounding new. “Call Me” by Blondie was the obvious motif used for this track. At about 1:00, I heard the lyrics alongside this particular chorus,
“Color me your color, baby
Color me your car
Color me your color, darling
I know who you are”
Listen for yourselves and let me know your thoughts. Is it a welcomed motif? Would a remix of “Call Me” be a badass Dark Synthrock cover? “Paladin” gives us a brief reflection of the possibility.

1) Microsha ‘89!

[Setting: Moscow, Russia]

Microsha ’89s sound is a recipe for recognition. With synthy smooth melodies, dazzling arpeggios, and nostalgic possession taking over their percussion, I’m as pleased as a peach that they’re part of the scene. They began with a concept EP called Soviet Union and from there I was hooked. Most artist’s first EPs do not fully encompass their talent. More often than not – it’s likely not very good. This is the entire opposite of that. This is gold. My top two tracks are from their latest release, Rain, which embodies their instrumental genius and corners us into a place where addiction is the only escape.

Track Highlights:
2021
What grabs hold of me is the richness of the evocative electric guitar. The fluidity of the synth beckons us to listen closely before the percussion kicks in – demanding our attention to dial in. The track speeds up mildly but keeps us at a standstill while all else is moving in perfect synchronicity. It doesn’t force us to move or dance just yet, it’s energy comes from the moment we’re in right now. The groove comes naturally, and before you know it you’re finally swaying and nodding your head to the beat.

Rain
When I’m listening to this track, I’m reminded of summer showers, despite the fact that it’s winter right now. You can visualize the angelic rays as the clouds begin to part. The glimmer of raindrops fall and hit the pavement to the beat. The synth guides us towards the ascension of the bridge, and the warmth of the chords against our ears is instilling the memory of those rainy days of Summer. The melody is one we won’t be able to forget, even after the song ends. As the thunder claps alongside the reverb of a cheerful chorus, it reminds us to keep smiling through the worst days. Better days are on the horizon if you just keep listening to the music.

2) Silicon Empire

[Setting: Istanbul, Turkey]

Out of the depths of the dark synth world, a new ruler ascends. One that doesn’t need your typical horror movie concepts, ritualized figures of what we define as “evil”. Such as a random Baphomet or symbol of Satanism. Not even your basic zombie raid soundtrack has anything on this! The “dark” theme is much more real, and much closer than you realize. Silicon Empire ushers in the subtlety of suspense, the arch of a technological takeover, and the guttural grunge of the gaping void in our minds. A modern industrial age is among us – and it’s heard in the synthetic coils of sound, the distorted elements of mind-altering audio effects, the pitch of a short circuit, and the depths of a guitar’s serenade. What began as a primarily ambient album called Umut, has now evolved into a complementary soundtrack to your digital dystopia: A Journey in the Network.

Track Highlights:
Virtual Persona
When I first heard this track, it brought upon an unnerving sense of disarray. Something lurking but unseen. The way the keys are they’re played on the synth instills an unfulfilled desire to uncover the unknown torture. It is heard in the inescapable edging of emotion of tantalizing tunes. You want to keep listening, don’t you? The stale air of decay is matched with the bass and the transition of the melody. There is a chime leading you closer to that alternate state of being. Eventually, we’re in the underbelly of soundwaves, enraptured by the web of strings and glitchy effects. This is what it sounds like to live in a technologically dominated atmosphere.

I get it. You want something harder. Something faster. Well, imbibe in this track with me. Let the bass shake you to your core. In the wake of this bodiless, unseen entity is the chaos that ensues internally. The fragments are within the fast-paced arpeggio, and the pitch change glitches into our comfort zone. What was once the stillness of an echo, is now awakened by the reverberating roar of synth. We move down-tempo into the endless expanse of our ego, as it engages with the enticing embrace of strings and leaves us to lie in our very own existential abyss.

3) Otrebor

[Setting: Caracas, Venezuela]

We live in a world of synthwave where we are tired of hearing the same ol’ pattern, bridge, and chorus. We’re tired of facing the problem that synthwave oftentimes is guilty of. We crave that which sets us apart from traditional genres. In comes Otrebor, a truthfully enigmatic beacon of what is both old and new. Entrance yourselves with a fresh sound, where each element is a reflection of the afterthought of musical focus. This is an artist that suppresses all that we consider vital within this niche of music. You don’t have to be an 80’s kid, you don’t have to have listened to every 80’s album ever released, and you don’t have to conform to what people tell you are the foundations of building the right sound with a synth to emulate “the good ol’ days.” So get used to it, and listen to what’s coming next without being afraid of the future generation. It’s killer, and it belongs on your playlist. I’m showcasing his album Loneliness and SOSIEGO for this segment.

Track Highlights:
Peace
Otrebor calls himself an “Emotional Electronic” artist. Think of the emotions you feel when you’re beckoned to dance, feel the tingling sensation crawl up your spine, and let go. A rhymic rise enters the confines of your eardrums, and with it is an episodic version of an emotional sense within a distinct memory. The static noise fry introduces the welcomed repetition of electronic chords, and the plummet of the chorus causes it to go back from where we first started.

Little Venecia
For those that want something with teeth, I welcome you to listen along. The start of the track is all attitude with an electronic entrance of mood-inducing keys. The trilling of chimes gets us past the rise, and a kick-drum strikes first into a KO of powerful percussion. Do you hear that?  Is that…nostalgia in another form? It isn’t basic, predictable, or repetitive. It is intertwined with the modern enigma of what the future holds for the genre. Dare I say it, it’s actually good and doesn’t take me back in time, it takes me to the right here and now in a good way. To avoid or refuse this next level vibe that is filling your ears is just a resistance of rhymic evolution.

4) Nikita Scion

[Setting: Hamburg, Germany]

The rapture of new artists continues, and Nikita Scion is making their mark on this list. I only have to tell you once, that this artist is a legend in the making. If you enjoy aggressive arpeggios, the roar of an electric guitar, and synthy, elaborate electronic melodies – then keep an eye on their progress. Nikita Scion entered the scene with a banger – Spectre Unleashed – and has since released one hit after another.  Listen for yourself, and let us know what you think as you travel to unexpected territories within your concept of musical reality.

Track Highlights:
Spectre Unleashed
The opener for this track glides into a guitar riff, easing us into a dazzling array of keys. I can’t help but feel energetically in sync with the way this track was arranged. Nothing feels repetitive, and each bridge and arch leads me to something new and exciting. The way the percussion integrates with the charismatic chords sends thrills and shivers throughout my body and dancing is the only response I can manage.

Black Lotus
At the start, I am immediately transported into Castlevania and I have no idea why. It might not have anything to do with what inspired this track, but it does remind me of Symphony of the Night specifically. In any case, that’s not a bad thing at all, and as we exchange vibes from nostalgic video games to vicious vibratos, I’m intrigued nonetheless. The percussion wakes me up just as the saxophone solo kicks in. Seriously, the transitions just lift another layer of the veil behind Nikita Scion’s talent. I never want to part ways with it. Let me just say “You’re Welcome” in advance, because I know I just inflicted your latest obsession upon you with 100% certainty that you’ll enjoy it.

5) STATIC ANGEL

[Setting: Somewhere in the, UK]

There is more left to come and the volume on your end needs to be turned up to the max for a sensational experience to shake the walls of your perspective. STATIC ANGEL is next on our list and they’re breaking the mold. Imagine if Synthwave and Dubstep had a baby and named it Synthstep, but it lives a double life as a Chilltrap Queen. This amalgamation of style, talent, and experimental electro has my knees buckling for more.

Sabishii
Things start off calm enough with a distorted rise, an eclectic arpeggio, and a trap-like kick drum. It’s all over once the bass takes over, and with all the elements combined, alongside a female voice, there’s no turning back. With each and every chime, chord, and key, I’m left dumbfounded at this familiar yet unfamiliar territory of tasteful rhythms. The emotion of the vocalized harmony entangles me into a fit of yearning. I want more of this. Much more.

Tell You
Distorted Noise fry. Kick. Snap. Vocals. Que that shattering bass that makes me quiver just right, and it’s a party. I’m obliged to obliterate my eardrums with this track repeatedly. Once the bridge arrives, the hum of the reverb meets the myriad of vocalized echoes. Then, we’re snapped back to attention thanks to that assertive clap.  The delicate effects in conjunction with the grungey distortion are wrapped up and delivered to you into the voice of an angel. A Static Angel.

6) NØVMBR

[Setting: Cincinnati, OH]

I invited some friends to the party, and while we’ve covered dark synth, synthwave, and some elements of things new and different, I may as well give the vaporwave scene some new vibes to lounge to! Introducing NØVMBR, the hottest sound to hit the airways since HOME disappeared. (Seriously, where is that guy?) Anyway, this next arrangement of sounds will astound and delight you with their dissonant chords, warbling midi-effects, and nostalgic ambiance. It’s enough to make me miss being a mallrat.

Track Highlights:
Gadgets
Allow the dazzling arpeggio to carry you up-tempo as the BPM hastens. Dancing along your mind are colorful chords trailing into the fry of noise. This is what obsessions are made of. We get that classic synth effect we hold so dear in the vaporwave scene, and the drum pads take us beyond reach. With every transition, there is something new to hear, a new detail to uncover. Leave no form of sound ignored. The horns announce their entrance and the rise begins to set a new stage. Finally, the chime of a new melody starts and ends just before we meet that luring arpeggio. Like an old friend, you miss just before they’ve gone.

Dark by Six feat. Sorcery
The next track to compliment your playlist is effortlessly mood-enhancing. I can see those SimpsonWave YouTuber’s adopting this as the newest addition to their strange yet soothing aesthetic. I’m enamored with the way this track progresses from familiarity to a spin in its own direction. The altering pitches from one segment to the next is like pulling back the curtain to a whole new sound. There are nuances to what you’ve heard before, but they stand out in the details mixed into each track.

7) Flight 328

[Setting: Chicago, IL]

I’m going to say it out loud and proud – I’m shamelessly sharing this artist as Synthwave’s next vocal sensation. You’d think this Synth duo arrived on the scene in a time machine. With vocals as their backbone, Austin Deadman and Tara Cruz deliver a time capsule of sounds that most artists wish they could replicate. I’d closely define their sound as synthpop meets 80s movie ballads, but with room to explore. Seriously, I get chills listening to Austin Deadman and Tara Cruz belt out and serenade from track to track. Not only is it rich with what I call “remastered-nostalgia”, but it has that classic cadence we remember from the 80s greatest hits era. Either way, raise the volume, and familiarize yourself with the newest faces among the crowd of vocalists with instrumental talent, Flight 328.

Track Highlights:
Don’t Want to Change Your Mind (FM-84 Cover)
It’s an aching, heart tangling sensation with Austin’s voice elevating this cover. Ollie Wride would dig this, even if it’s his lyricized co-creation with FM-84, with a smile on his face, and a tear in his eye. Nothing could have made this track better, and yet, I find myself at a standstill. Not in the way of wondering which is better than the other, but the fact that there are new elements to highlight about what made it incredible from the start. Along with an acoustic adoration, this newly packaged model is one that I couldn’t have expected. I’m in love with the heartbeat of this song. I can feel every emotion as it intensifies in the tone and pitch that Austin applies to it. Que the lighters and hold the flame up high.

I Wanna Know
I promised the classic ballad feel that I described before, and here it is. With powerful, belt-worthy, purpose-filled lyrics, Austin and Tara make way for exactly what die-hard synthwave fans crave: a soundtrack that transports them from present to past. The reverb, the echo, the keys, all of it together at the introduction beams down from under the spotlight. The electric guitar brings us back. It’s that water drop effect, isn’t it? Half of the time, I can’t believe what I’m hearing – and even though I feel familiar with the nuances, it hits me that this is actually new. Tara Cruz’s incredible voice breaks that sense of comfort with a solo verse, and we’re cradled into the classics again. A gentle piano, the maracas, the symbols, the finger snap, it’s all there. Waiting for you to recognize it for what it is, and realize it’s here to stay.

8) Canyon Crows

[Setting: Scotland, UK]

As a synthwave connoisseur, (Aren’t we all?) I’d like to usher in this new artist into the fold. It’s easy to love anything Canyon Crows has released so far. In the case of their previous release FICTION, their flexibility is beyond a singular concept. In addition to the ambient synthscapes that we know and love, they’re also dedicated to a darker Mallsoft vibe, which is highlighted in their recent release Bad JuJu. It’s been difficult to pick just two tracks for any artist, not to mention separating albums from one vibe to the next, but I really have to highlight the differences for this one in particular so that you can place your personal pick on which vibe you prefer. Either way, you can’t go wrong. Some tracks gently bleed into the next, and Canyon Crows achieves this beautifully.

Track Highlights:
Call
Is it just the intro? Is it more than just a phase? It is going to last a lifetime? I can get used to this mood. I really enjoy the ethereal embrace that atmospheric synth tracks provide. It’s like I’m descending deeper into another world…or outside of it. It’s an audio-visual experience when I can focus on a scene in my mind and listen closely to the music. The horns and reverb seep into the void and reflect off of the stars outside of my reach. Slipping further into a figment of my imagination with each wail of the synth. It’s simplistic, yet complex all at once, as the echo of a phone ringing tries to impede on my focus. I answer, but I never know who it is…

Severed Heads
Speaking of anonymous phone calls. Let’s say Jacket from Hotline Miami invites you over to a local abandoned mall that’s been infiltrated by a group of rogue gang members. Well, when he hands you the Katana, it’s best to just go ham. This is the soundtrack to that imaginary situation. We all miss Hotline Miami, and we all love to be reminded of it. Severed Heads is both a boombox banger and a menacing mixtape, resounding through a brutal beating of bass. Plenty of the vibe within this album is reminiscent of a darker aesthetic that we can recognize and adopt without question. The only question I want to ask is: “Do you like hurting other people?”

9) The Racers

[Setting: Far Far Away, France]

We’re nearing the close of this chapter, but surprises are still left to unhinge and exploit! The Racers released a banger of a single called Final Lap, and more recently Culte de la Machine, and they even have some incredible remixes of a couple of tracks from The Midnight. This artist is going full throttle into the scene with heavy bass, energetic kick drums, and elaborate guitar solos. Truthfully, an unforgettable listening experience. I could continue to describe them further, but I’d rather push you into the deep end and drown out your worries with decadence in musical form.

Track Highlight:
Final Lap
The beginning of the track grants us passage into the echoes of an electronic cascade of sound alongside blips, and colorful chimes. They grow in rhythm as they tease your audible reflexes to pay attention to what’s coming. An epic showdown of synthesized effects raises your awareness of the eventuality that this is unlike all else we’ve heard thus far. The rapid clap presents the wailing electric guitar, as it takes full control of the body, making you wince with pleasure, and the impression of its riff causes your head to sway in motion. We collect ourselves in the wave of melodic mimicry, awe-inspiring arpeggios, and finally the noise fry to close us off, edging us without fulfillment, so that we may sit with unencumbered satisfaction.

10) Purple Blue

[Setting: ???, Netherlands]

I have to say my favorite part about finding random artists on my own is I can listen to their work unbiased and unaware of anything I’m about to encounter. I flip through what’s available, and my ear deciphers from there. Purple Blue caught my attention with their sound, talent, and core nuances alone being my guide. Despite not being established on Spotify, (which I only used to check album dates for reference), I was delighted to find them at all. When I hear music that I know is good, I put it to the test. If I can repeat it, and resist skipping it, it’s all go from there. Their EP Free is a great example of a well-produced synthwave project that corners the audience with defined influence. It forces us to hear their version of what people love about the genre as a whole. That being said, let’s finish this 3k+ word count article off with a bang.

Track Highlight:
Night Cruise
The warm synth tunes bend and fold with the tides of reminiscent chords. Keep a close ear on the percussion. It’s about to get heavy. Now, notice the peak, claps, and reverb on the strings. These are the ingredients to a properly classified Synthwave track of the modern age. Once the kick-drum begins, it’s all a matter of time before you’re enveloped in Purple Blue’s trance. That electric guitar sneaks up on you early on, and as the song progresses, it holds its end of the bargain as it blares alongside the melody. The harmony of all of these elements contributing and enhancing each other is intoxicating. Every rise and fall has its purpose, and every beat partners up with a clap, creating an abundance of cleverly composed sound.

Final Thoughts & Words of Encouragement:

We’ve made it to the end of the journey! We’ve successfully indulged into the next wave of artists taking over the Synth-Scene!
All that’s left is for you as readers, fans, admirers, and fellow-artists, to support each other, grow together, learn from each other, and follow/subscribe/merch-binge on who caught your attention and which selections fuel your desire for more.

There is so much music to be made and listened to, and enjoyed! This list is just a reflection of what I personally perceive as not just “good music” but as a clear message that, “these artists deserve the spotlight just as much as the Top 10 Synthwave Artists Of All Time do”!

In closing, to the artists mentioned above, consider this a warm welcome into the Synthwave scene. We honor your talent, your personal goals, and your musical growth.
We ask that you keep going, bring more bangers into the world, and claim the spotlight you so deserve!

Your fan and musical scribe,
Jessica Jaxx

Biosynthesis:
This next vibe starts off simple enough with a steady climb, but the more you listen the more details come to the surface. Laser beams and sci-fi themes showcase “Biosynthesis” as a track that I could easily place in Destiny, No Man’s Sky, or Mass Effect. The gentle cymbals and building tension prepare the suspenseful succession of chords, and the temptation to keep listening never ceases. As the song comes to an end, the distortion gravitates to the aesthetic that flows through the album. Earmake builds a universe around us that we can only hear but manage to see via imagination and intrigue; the major drivers in any album concept.

Synthetic Memory:
This tag-team album title is a collaboration between Earmake and Arwelone. This spectacular result of musical genius is an entanglement between the expanse of ambient middle-tone frequencies and the environmental feedback from the outer limits. We’re interrupted by the punchy kick of the drum and bass as it compliments the synthesizer. The serenity of the chimes, bells, and the echo of a tambourine create a fantastic flow. This entire track embodies a resonance of discovery because you can hear each instrument in and out of sync. The guitar presents itself but doesn’t have full control of the direction of the song. It intensifies beautifully, and unapologetically without overshadowing the rest of the instrumentals.

The Stone Giant:
Next on the collaborative, we have Dynatron alongside Earmake, and from what we know of both artists, we’re in for a ride. The trumpets resound the start of something epic on its way, and the synth gently follows their lead. A unified march matches the melodic opening. Nostalgic details captivate me and instill suspense. The Impactful percussion beats amplify the intensity and the colorful loop of keys coordinates alongside the kick drum. Towards the ending, there is an ominous intrusion of descending chords and dismal drums. “The Stone Giant” enraptures the listener to feel a warm fusion with the music, and I’d be out of my mind to deny it.

Waves:
The uplifting cascade of “Waves” is enthralling, to say the least. This duo between VHSToyko and Earmake is nothing short of a feel-good hit. If you need a track to listen to alongside your trip to Nirvana in space – here it is! I’m reminded of distant horizons as the synth serenades me into visualizations. I reminisce over glorious sunsets as a resident of Earth, however I find it easy to imagine scenes where the sun is coming up just behind an unknown planet. The whimsical bridge clashes dramatically with the drum, and my visualizations have evolved into floating along the vastness of space, admiring nebulae and red giants. 

Interplanetary Overdrive:
I know I’m not supposed to pick favorites, but I’m claiming it out loud anyway. “Interplanetary Overdrive” has everything a girl could want, speedy arpeggios, an aggressive kick, synthesized seduction, punchy beats, and these are all essential ingredients to a mind-blowing experience. We’re traveling at the speed of light, dodging asteroids, and what I could only describe as the “powering up” effect of the rise, has me tightening up internally as we go overdrive! I recommend listening to this on repeat. The celestial bodies across the expanse of time are merely blurs outside of the spacecraft as we’re traveling at light speed. The destination is unknown, but we’re landing in 3….2….1. 

The Signal:
We’ve made our way to a strange planet, and from what we know, we’re chasing after “The Signal”. Our sense of uncertainty and curiosity stirs as the bass writhes itself awake and the sound of the synthesizer fills our ears. It’s only a matter of time before the kick changes course, and the element of the chase unravels into a melodic ascent. Earmake channels the 80’s in a number of ways, but none of which overcome the overwhelming allure of synth keys, mechanical feedback, and the atmospheric immersion. 

Starlight:
Slightly similar to the latter track, “Starlight” serves to comfort the transition, while implementing more of that raw mechanical disarray. As the song progresses, the emotion escalates into an enigmatic arrangement. The chimes compliment the bells, the claps echo, and the body rolls with the beat. An eclipse of the ethereal chorus dislodges the sense of familiarity we had in the beginning, and it becomes an entity of its own. I’m loving how Earmake correlated the tracks as an extension of each other, complimenting this chaotic journey of imaginative space exploration.

Crepuscular Rays:
A piano arrangement in the middle of so much action can be a shock to the system. Dreams Beat as the co-star of this rhythmic epilogue is a serendipitous touch to the ending of this chapter. I’m dazzled by the dimensional co-creation of “Crepuscular Rays” because it’s the perfect ending credits arrangement. Together, the piano and the synth make use of the theme as the space dust settles on our minds. The percussion picks it up a notch, and the orchestral descent slows our heart rate as we listen to the lullaby of the smooth landing.

Immersion to the Unknown:
Earmake’s bonus track reminds me of that final scene after the credits when you get too comfortable with the ending. Y’know the one, when you see the villain survived or there’s another threat to humanity that is hiding in plain sight. There’s an ominous tension surrounding this track, and the drum beats and resounding echoes of steel pipes can’t help but intrigue me. What is the cliffhanger of Cosmic Hero 2, and what lies beneath the barriers of this fantasy? As fans, we’re always left in the dark of whatever stories surround the true meaning behind the music we hear

Cosmic Hero 2 is an incredible album. It plays on the nostalgic themes of 80’s science fiction films, subtle vibes from interstellar shoot-em-ups, complimented by our modern views of the universe, and what resides beyond our imagination. Whether we’re aware or not of what the meaning, direct reference, or obvious inclusion is – there is a level of awareness while listening to this album that resonates deeply with what we’re uncertain of. This album has atmosphere, attitude, and less of the typical, predictable paradox of what synthwave dilutes – a modern class of character that thrives off of the old without drowning out the new. 

Old World Death:
The prelude of Dark Nation, a track called “Old World Death”, is a culmination of effects that I can only describe as dystopian demolition. Whether it’s from this world or the next, this track certainly prepares us for departure with a suspenseful lead by way of ominous keys. The bombing of bass gives us a reason to be wary of what’s to come. An unintelligible voice breaks through and provides little comfort. A monolith of sound and untraditional influences of what we know as Dark Synth is no longer present. DEADLIFE introduces us to the landscape of a grim future that is inescapable, and the theme of discord emanates throughout this track. It certainly gives me an appetite to discover the entirety of Dark Nation and what more is left to uncover.

Complete Meltdown:
The howling winds accompanied by a showering noise-fry surround us. The coaxing synth serenades us deeper into calm. However, all mystery and sense of safety is temporary once the chords take over. We’re blasted away by hefty bass and a sequence of synth keys alongside an adrenaline-inducing arpeggio. The chimes are well met with the shatter of each clap. The climax of “Complete Meltdown” is fueled by the fire of a fantastic ladder that dissipates back into the calm before returning to the action. The track itself gives me the impression that DEADLIFE has more in store for the remainder of the album, and there is a bit of pep in me to tread forward enthusiastically.

Out of Anger and Avarice:
The glitchy nuances are something I can’t help but have a taste for now that we are three tracks into Dark Nation. “Out of Anger and Avarice” opens with a tone in mind just before the loop takes over. It carries us full throttle into a fury of modular keys, creating an impactful dive into a choir unbeknownst to us as anything less than the occupants of the Dark Nation. The bass and I are past the friend-zone and it’s all benefits from here. DEADLIFE creates a world that we can not only see ourselves in, but we’ve seen before. The apocalyptic scenes from Terminator, the horrors of Dead Space, and the gruesome memories of Operation Dark Storm from Animatrix.
All of these references and more come to the surface as I listen on. Behind each rhythm and melody is an unseen force of influence, and we as the audience can only assume what they are for the artist.

Drift:
This track harbors many emotions, and within them lies an undeniable sense of self-absolution. The climb and pacing of the synth make way for a robust acoustic that sets the stage for the monologue in between. “Drift” shares with us the precipice of a new chapter with the percussion leading us by ear. The distortion delivers within it an emotional resonance. One of poignant memories and distilled disturbance. This makes for a slower arrangement than the previous few we’ve encountered so far, but also the most consistent in mood throughout its duration. Whether it’s in the synth keys or the pronounced beat of the heart on the bass – DEADLIFE knows how to set the mood and significantly change gears for their audience to follow.

Health is a Currency:
I love this track title because it reminds me of not just the ethos of video game mechanics but also life itself. There are elements of music that give me life, however, and it’s the usage of a choir and bells in electronic tracks. DEADLIFE uses these details to raise the stakes and offer an ethereal anguish from one thread of sound to the next. The delicate, industrial strings of what sounds like a shamisen eloquently introduce the cryptic discorded notes being played ominously. Like a haunted music box in space, or a futuristic house of mirrors. I’m astounded by the whine of soundwaves as they fill my ears and direct my attention to what lies beneath the bridge.

Her Broken Smile (feat. Tessa Hedrick):
Sometimes there’s one track that beats them all. There’s always a toss-up situation between tracks with lyrics and tracks without. Tessa delivers a hauntingly angelic vocal ambiance to “Her Broken Smile” that makes for a showdown of chronic satisfaction. Mixed with the synthesized vibrance from DEADLIFE, the lyrics only further highlight the polarizing emotions we’ve picked up with every track leading up to this moment. Heartbreak devoid of healing and an overall demise of character mirrors the words that Tessa sings, and an unraveling of personal resonance has us thinking, “Yes, I’ve felt this way before.”

Dreams of a Variant:
As we dial into our next track, the first thing we hear is mechanical feedback, followed by an ascension of keys as it smacks us into the new reality of Dark Nation. The chasm of curiosity has led us into a traditional 80’s drum kick, inevitably rushing time forward through dazzling chimes and bass. There’s a gradual climb from one pillar to the next, and the choir returns, ushering us into their pilgrimage of sound. Discordian keys guide us back into the calm of the storm. I relish in this transition because it doesn’t last long enough for me to get comfortable. We’re slammed again by that beauteous bass and synthy-goodness. DEADLIFE recreates a resurrection of old versus new, and I’m here for it!

Modern Gestalt:
A foreign planet awaits our arrival as we listen to this next track, “Modern Gestalt” and beyond its atmosphere, are heavenly arpeggios, and distorted choirs. If one could call themselves human at this point, it’s only because you’re not focusing on the world-building going on. I could call this album a soundtrack to the future at this point and moving forward. There are introductions, climaxes, and fight-scenes. There’s renewal and there’s ruin, and despite this being an album review, I’d like to consider this as more of an opportunity to imagine a world that DEADLIFE created. The satisfaction and seduction of sound and its varieties, some familiar, and some unique, offer the imagination to reach beyond the limitations of mere mortals. Something cybernetic lingers, and the future is nigh.

Drenched in Dead Wires:
If I’ve learned anything it’s not to get too cozy in the lingering lullabies and interludes of gentle melodies; not while DEADLIFE is in control. Always brace for impact and embrace the unrelenting interruptions of drum kicks and bass-heavy leads. It’s coming for you, and there’s no escaping it; not while you’re trapped in Dark Nation. Alas, the choir is back and excites the senses. There’s an underlying serenade of synth, and it turns into a futuristic Eldrich horror track before you realize it. Beyond words, the ladder reveals the revelation of the differences between electronic sound. The artist alone holds their individuality, and this album reaches those heights as it ebbs and flows from comfort to chaos.

Fragile Stratum:
Ah, the delicacy of gaming samples and all the fruit that it bears encompasses this introduction. I feel as though I’m viewing my own inventory, except mine is not as badass. A phone, a laptop, a bottle of water, and Dark Nation. Okay, maybe the album in my arsenal makes it a little kick-ass. This dancey beat uploads a variety of visions aside from the game-like, “first-person shooter equipping the big gun” details in the beginning. I find myself enjoying the reload of rhythm, and once we meet back at the base of the calm, it’s light and airy with the 8-bit companion of keys. The choir welcomes us and the rise beckons us to continue the good fight.

Displaced Anomaly:
The beginning of this track takes us back to the dimly lit alleyways of the ’80s. A nostalgic serenity is interrupted by the thrilling escalation of a threatening vibrato. This track is a bit of a playful amalgamation of what we’ve heard so far from Dark Nation. Within “Displace Anomaly” are subtle reminders of our desire to remember the eras of old. A ballad that bursts into a final form of freakish discordian sequences. The progression escalates into a feeling of moving forwards and backward through time simultaneously as the modern and darker approach to synthwave mingles with and disrupts the sounds we recognize. I’m eager to find out what awaits beyond as we near the end of the album.

Outlier:
“Outlier”, and the surprises that lie within it blossom from the way DEADLIFE arranges the transitions. The moment you feel comfortable with the keys, they shift the sands beneath you. Soon enough you’re traveling through a futuristic version of Conan the Barbarian if he suddenly walked through the neon lights of Tech Noir. A true parallel universe that would surely be the furthest from mind had I never mentioned it – but now that I have – I need it. “Outlier” would be a great soundtrack to hear through Arnold’s battle cries. We can’t help but engage in the way the bass carries us through each synthy solo, and the unapologetic progression begs for our attention.

New World Birth:
DEADLIFE’s great unveiling grants us passage to a new world order. We hear a delicate voice, and as it emerges, we’re barraged by the ongoing kick-drum and mimicry of the underground deliverance of bass. It’s a habit at this point to gauge when and where DEADLIFE will plant his chorus or verse, and I’ve gotten fairly good at depicting it. Knowing what details are used to shroud them, however, are where they differ from each track so far. The cascade of thunder and rain accompany the calm before the storm, and I’m reminded of Outlier, the track ahead of it. This ending to Dark Nation is albeit, an interesting one. The story of Dark Nation will trigger the imaginations of many and announce itself aggressively in any quiet room.

Now that we’ve reached the end, I’d gladly revisit the realms of DEADLIFE time and time again. So long as the soundtracks hit as hard as they do! I’m extending the invitation for you all to listen for yourselves and tell us what your own imagination cooked up! What lurks within the depths of your fantasies, and did any come to life while listening? Deliver us the details, and venture past the boundaries of your mind!