10. Droid Bishop – “End Game”

9. Yota – “The Vibe”

8. Clyde Shelton – “Spending Spirit”

7. The Midnight – “America Online”

6. W O L F C L U B – “Electrify”

5. TOKYO ROSE – “TYRAEL”

4. Florida Skyline – “Hello World”

3. Com Truise – “Galactic Melt”

2. Waveshaper – “CRT Days”

1. DEADLIFE – “Strands Unravel”

Honorable Mentions:

A.L.I.S.O.N – “Lightyears”

Voyage –  “Sync”

Dan Terminus – “Requiem”

Baldocaster – “Map to the Stars (Part 1)”

View our other Best of 2020 lists here!

Like our lists? Check out our Top 10’s from previous years:

Top 10 Retrowave Songs of 2019
Top Ten Retrowave Songs of 2018
Best of 2019 

Top 10 Synthwave Tracks of 2020

This sultry album is a beautiful shift in Yota’s sound –  more prominently featuring her synthy side and cementing her status as an incredibly talented vocalist. While Her last album, “Strangers on Film” felt a bit more down-tempo, “Hazy Paradise” takes it to the next level with a myriad of upbeat tracks – really bringing out the intensity.

The album is aptly named, feeling very dreamy and hazy, as if looking into the past through the summer heat rising from costal sidewalks. Infused with dreamwave, Yota’s signature blend of vocal nudisco and synthwave really shines here – pumping out track after track of wonderous summer vibes and stellar vocal hooks that drag you deeper into the dream.

“Hazy Paradise” is truly catchy and a joy to listen to, the perfect chilled-out album for a humid, tropical summer!

Grab a listen here!

And Vibe this track does! With Yota’s signature blend of synthwave, nudisco and french house, “The Vibe” is a fantastic track to help jump start your summer nights.

This track perfectly extracts those Miami/LA beach 80s feels and encapsulates them in a beautiful anthem. “The Vibe” is not one you want to miss – and hopefully is a great example of a fantastic album on the horizon!

Grab a listen to the track here!

Honorable Mentions:

Brojak

Douze

Top 10 Retrowave Newcomers of 2019

10. Marsilius Kreutz

9. Vast Hill

8. Autokira

7. Lukhash

6. Florida Skyline

5. Siamese youth

4. SJ Bravo

3. Wayfloe

2. Yota

1. The Night Hour

This expertly crafted album relies on ambience, straying away from the retro synth many have grown accustomed to with NRW but fully amplifying the more dreamy side of the genre.

As the album progresses, however, the ambience blossoms into a fully innovative and immersive retro synth experience not to be missed!

Check it out here!

Strangers on Film by Yota

First off, how did you start playing music?

I used to take some piano lessons as a child but I wasn’t motivated to learn all those music notes so I made my own notes by typing like A1, A2 etc on small pieces of paper and scotched them on each piano key and tried to write some songs after that. One could say I was a bit rebellious by doing that my way, but I was probably just being lazy and tried to find a shortcut. That didn’t lead very far, so it wasn’t until many years later that I actually started to even consider music as something that I should do. My father was a Greek singer and he used to perform in parties, weddings and such. He was incredibly talented, so hearing him sing might have affected me on a subconscious level.

I understood that I should consider taking singing to the next level in my early or mid 20’s, when I was going to art school in Stockholm and one of my good friends heard me going all in, singing along to Al Green in the car. I overdid the falsetto I believe, but she told me right there that this is what I have to do. My friend had been working as a manager for American soul artists and for Brazilian samba artists. She was about 30 years older than me but we were very good friends. I listened to her and trusted her opinion. I had plenty of friends in the music business during that time and I started a band called Metamorphosis with a friend of mine. I was recording the vocals in a program called Sawplus.

One night I met a guy, Peter Sahlin, in Stockholm who had a band called Plastico and he said that I should send my demo to Håkan Lidbo. I did which led to Håkan calling me. I went to meet him and signed with Container Publishing and Misty Music. Signing with them was a real turning point for me and I started to focus on songwriting on another level. After that, I thought that art will be something that I’d pursue later on in life instead, which I still think I will do.

What were your first ideas you had for this project before you started writing any music?

Usually, the ideas grow and come alive after I receive some music from the producers I’m working with. If I don’t have a track in stock that inspires me, so to say, then I usually work on vocal melody ideas in Logic and send them over to one of them (producers). This project for NRW is a quite dreamy creation. Emotions are my inspiration and sometimes I loop a favourite part of a song (any song that I like) and sing over it just to get the ideas flowing. My topics are formed after the emotion so the feeling is the ruler or the boss, and the idea will kindly have to follow after that 🙂 The ideas for this album were quite a lot about contrasts like tough and soft, warm and cold, serious and playful.

As someone originally from Sweden who now lives in Paris, how would you compare France’s approach to music to Sweden’s approach to music?

Wow! This question is huge and depends on genres etc and could be discussed for hours but I’ll keep it short.

My impression is that in France the respect for the past is huge and music is no exception. The knowledge about artists that were known a long time ago is still kept alive by those who dig deep and take music quite seriously. Of course, this does not go for all and is also accurate in Sweden (respect for the skilled and serious musicians in Sweden) but somehow, I feel that the nostalgia is more apparent here in France – at least this is my impression, build on the people I meet over here. On the other hand, I’ve lived here since 2007 so I might be too disconnected from the Swedish music scene by now. In Sweden, I feel that the business keeps an eye on what’s going on outside in the world inspiration-wise, while in France it sometimes feels like the inspiration stays within the borders, but now I’m generalising so I better stop here to not upset anyone 😉

Your latest album is called Strangers On Film. Who does the title refer to? Who are these Strangers? Why this title?

When I received the instrumental from Douze (Arnault Esteve) I opened it in Logic and started to go with the flow and the mood. I pictured an outdoor club in front of me. There was a big screen playing a movie and there were a lot of people. The view was of someone watching the scene. Imagine a decadent place with music that gets hold of you in a way that it becomes what you feel. Then, further along, I had the idea of that electric connection between two people in the middle of this crowd, the kind that burns your stomach or something. The mood is tense and a bit exaggerated with the lyrics but that’s the mood I was aiming for in a way. I recorded the title track in 20 mins because it just felt right. The strangers are random people with good taste in music and some kind of wild side.

What can you say about the concepts behind this record?

I feel that there’s a lot of gathered emotions in a small place in this record. Gathered in a sense of things that I’m going through at this time in my life.

How did you meet your collaborators for this album?

I know Douze (Arnault Esteve) for many years now as he used to work with Kris Menace and came over with him to my place in Paris. Ever since we really connected and did plenty of tracks. He gave me the idea to do my first album “Knight in Shining Armour” where he wrote about 70 percent of the tracks. So, once I started working on new material, which later led to this release on NRW, it was natural to ask Douze if he had some nice tunes to send over. As always, I received plenty of nice tracks that I could work on. I’m very lucky to have him as a producer, he’s a real talent.

I know Stephane Lozac’h through my publishers in Stockholm and Paris. They connected us as I asked them if they had someone skilled in Paris I could work with when I had moved over here. They introduced me to Stephane and it turned out that he was kind of my neighbour, only living 2 blocks from me. We became good friends and it was only after years of friendship that we actively started to work on tracks together. I am very happy we did so because he’s very professional and skilled. He can tune into what I like and create a track after that.

Johan Emmoth and I go way back. I met him when I was still living in Sweden and I wrote tracks with him and John Andersson from Zoo Brazil and Laid. It was during the time when I was working with Håkan Lidbo, John Dahlbäck, Stonebridge etc. Me and Johan stayed in touch and started the project Mauvais Cliché together and our first release as MC was on Strictly Rhythm, a track called “Stop Watching Me”. Johan is a very close friend of mine. He is always ahead of his time. I think he has one foot in the future and I have yet not figured out why 🙂 He is one of a kind and very talented.

I know Laurent (Lifelike) for more than 12 years now. We have released some tracks together where I believe “Sunset” on the label Vulture is the best-known one, along with “Silicon Love” on Computer Science. As many people might agree, Laurent is basically brilliant but then again I’m quite biased here 😉

What is the main message you want people to take from your music?

What I want is that there are some people who can get something out of listening to my music, and preferably something positive of course, but this is not rocket science, so a good mood will do just fine. There are so many people liking different things out there but for the ones who get affected by similar tunes to me, then I’m happy if I can contribute something like a little natural high or a little dreamy break from reality or such.

Finishing off: can you name one of your favourite albums, movies and books?

I really like the Tears For Fears album called The Hurting. Overall it’s an album that has a lot of richness in the sense of content. With that said I’m not a fan of all tunes on the album but most of them are great, like the track “Start Of The Breakdown”. That is just amazing.

Some of my all time favourite tracks are “Heroes“ by Bowie, for me, this song is beyond brilliant. Prince’s “Purple Rain“ is pure bliss. I love some fabulous tunes by Earth, Wind and Fire. My favourite tune by Depeche Mode is a song called “In Your Room” which reminds me of my art school time in Sweden.

The track called “Isolated” by Trevor Something is amazing and the funny part is that only a month ago I discovered he was signed to NRW, just like me, whereas I’ve been listening to his songs since a while now.

“Love On A Real Train” by Tangerine Dream is everything one can ask for in a song if you ask me. If the song makes you feel and it makes you associate to things and your mind starts to spin, then it’s usually a good song. This tune just does it all time and time again.

The band Cigarettes After Sex are really amazing. They can be on repeat on a rainy day, and it rains a lot in Paris lately.

When it comes to movies I really like Rear Window by Hitchcock. The colours have that kind of shine, just like when the sun shines in your eyes and you need to put your sunglasses on. Then the silence when the camera kind of slides over the courtyard and the apartments, slowly like they never do these days. There is something with the light in this movie, really. There’s an awkward silence that can be heard in this movie. I can’t really put my finger on what it is but it intrigues me.

I like One Flew Over The Cuckoo’s Nest a lot but at the same time, it kind of depresses me to watch it. I really like Jack Nicholson and his acting style.

The Eternal Sunshine Of A Spotless Mind is a beautiful story that got a hold of me.

Regarding books, I’m not really a novel person. I mostly read about psychological theories or human behaviour. Right now I’m reading and listening to podcasts and interviews about the polyvagal theories in neuroscience and psychology and it is really fascinating. There is not only a fight or flight response in our primitive part of our brain once we detect or think we’re in danger, but there’s also a third one that is all about immobilization as a defence mechanism. Anyway, this is what I read about at the moment. 🙂

I also like to read about true stories of people who have gone through a lot, but at the same time, I would not be able to call any of these my favourite books as they tell stories that are very dark. Calling someone’s darkness my favourite just doesn’t feel right.

Our  review of ‘Strangers of Film’ (By Andrew Zistler)

Be sure to check out Yota on her social media:

Facebook

Strangers on Film on Bandcamp (NRW Records)

Instagram

Featuring absolutely pristine vocals and mixing, “Strangers on Film” is a journey through nudisco and dreamwave and even beyond. “Limelight” is easily one of the best disco-influenced tracks we’ve heard in years, feeling instantly Iconic. Then we have “En Ligne,” more reminiscent of an upgraded American beat-pop that’s recently been sweeping the charts.

Then some of the album almost borders on experimental, with lush ethereal nearly ambient synths on “In the Light,” French spoken word in “Strangers on Film,” and the terrifying and tearful statement piece “Girls Just Wanna Have Fun.”

All in all, Yota has created a piece of art that aspires to greatness. Multi-dimensional and superb, this release feels less like a collection of tracks and more like an experience.

Grab a listen here:

Yota – Strangers on Film Bandcamp

Friday afternoons mean one thing – the NRW Weekly Selection. We’re striving to bring you the best of the best.  From outrun to darksynth, we have your weekend covered!
Check out who hit our top spots this week:

Yota – Limelight

Arcade High – Radio (Feat. Slyleaf)

FM Attack – Ultraviolet

L’Avenue – Business Talk

Stilz – Wavelength

From YOTA’s debut LP “The Knight in Shining Armour,” and produced by nu-disco pioneer Lifelike, this single is drenched in some awesome summer disco vibes. It’s hard not to groove with this track starts pumping! Check out the video below and the album here.

French House and Nu-Disco vanguard LIFELIKE, aka Laurent Ash, is no stranger to the music industry. He began as a bassist in the mid-90’s, but soon after became interested in synthesizers and samplers, moving on to dance music. Mainly working with samples, he helped create a new sound infused with the disco of yesteryear.

Eventually his record wound up in the hands of Daft Punk’s manager, and was played by Bangalter & DJ Falcon during the famous “Together 2002 tour.” Since then Ash has worked with many musical titans – mostly on singles and remixes – but soon, he plans to release his first full-length album, “Electronic Dreams,” featuring a slew of talented artists like A-Trak, Chromeo, Electric Youth, Oliver, Yota and Audio District/Benjamin Dante  – and he wants your help too!

Instead of signing onto a big label, he’s put the album up on kickstarter to help create promotional materials, music videos and press vinyls and CD’s.

We sat down with him to find out more about his new album, the kickstarter and his thoughts on the current music industry.

You’ve been in the music business for years, working with many other very talented artists – why are you only now releasing your first full-length album, “Electronic Dreams?”
I wanted to drive my car in the record industry the way I wanted it. I didn’t want to do an album before – it’s just as simple as that. I liked the fact that I could have the freedom to release singles and remixes and not having the need to release a full album. I felt now that I had enough good tracks to go for the album.
I don’t believe that in today’s modern times, its fully needed to do album after album like in the other decades. You can be successful and drive a community of followers that is strong without the need to feel the pressure of doing an album.

Why did you choose to use kickstarter for this album? Why not use a label?
Well the problem with other labels and especially major record labels – they can’t drive this type of specific project – my album needs very specific image and promotion.
Big structures aren’t able to this properly. I would need to tell them how to proceed and who to hire and survey constantly what they do.
This is far too stressful, they should be able to drive this by themselves – it’s their job. Unfortunately, today, they are not able to drive these kinds of projects properly anymore. That’s why you hear so much bad music out there, they are only interested in releasing fast short terms projects to bring in fast money.My music isn’t like mainstream, so this is not something they understand how to promote or push. Not to mention that most A&R working for those labels have no sense of artistic development, most of them have only experience out of commercial marketing and sales.

You don’t sell music like you would sell a piece of cheese.

You’ve noted that as you work with bigger labels you lose creative control – can you tell me a bit more about how that happens?
I remember that most A&R in major labels constantly wanted to tell you how to arrange your music, how it should sound, to remove this or this instrument here and there.
This is unacceptable for me. Nobody tells me what I should do with my music.
I accept critics on the sound, but when a guy out of a marketing school who never sold anything other than cheese or computers comes and tell me what to do, I’m not ready to compromise on that and I prefer to throw the deal in the trash rather than discussing what he thinks is the best for me.
Back in the days of the early Daft Punk albums at Virgin Records, they still had the finest A&Rs who would understand the creative process and the scene they were coming from – giving them a total control and freedom over their music.

Those guys were fired 15 years ago…

What made you eventually start you own label, “Computer Science?”
I just wanted some space and some freedom to release my own music, whenever I felt like it. Also, it helped me to create a business structure to protect my music and myself from being eaten by other bigger structures in case I would sign a deal with bigger major labels.

It’s absolutely necessary to have your own label today.

Can you tell us more about “Electronic Dreams?” What I’ve heard sounds utterly amazing…
It’s a collaboration album with friends of mine. I’ve been working with A-Trak, Chromeo, Electric Youth, Oliver, Yota and Audio District/Benjamin Dante.
It’s lies somewhere between, discofunk, synthwave and pop music which are the three main genres I’m really digging now.

What was your inspiration for the tracks? How did you imagine the sound would before actually digging in – and how has the final project changed from your original concept?
It really depends on the tracks, the song I co-wrote first with Chromeo, needed some magic I couldn’t get in my studio, so I called Vaughn from Oliver and they worked on the track again, giving to it this final 80’s retro touch that sounds amazing.
With Electric Youth they wrote the lyrics and went in the studio – but I finalized and mixed it alone. I’m actually producing, mixing and sound engineering everything in the album.

“Electronic Dreams” is a collaboration with many amazing artists such as Chromeo, A-Trak, Electric Youth, Oliver, Yota, etc…and much of your work is in remixes – why do you like working with other artists so much – and did you find it hard, with so many influences, to maintain a cohesive sound for this album?
I think it makes the music more rich to add more influencers and musicians, making the songs or tracks stronger than if you do this alone. Three brains working together are better than one. 
Do you have any “White Whale” producers – someone you’d love to work with, but just haven’t been able to nail them down?
Yes unfortunately, at the very first start of the album, I asked UK top producer Martin Rushent to work with me on this album, he the guys who produced The Human League’s “Don’t You Want Me” and other big acts from the 80’s.
Sadly, he passed away – just a couple of weeks after we started to discuss how we would make this happen.

Much of the music that has evolved from the Valerie, the new synthwave movement – much of it is not necessarily dance music. How did your disco sound fit with the 80’s soundtrack sound?
Well its amazing to see this evolution and where this comes from. I recently got invited to a synthwave party, to DJ here in Paris and met some guys from the scene, all of them told me that I was one of the pioneer in this genre, long time before it would be called synthwave, because of a track I release in 2007 called “So Electric”.
One of those artist, Robert Parker, had been travelling all the way from sweden just to meet me and give me his album, and to tell me how influential my music was on his own way of doing music.
This is the most rewarding thing that can happen as a producer.
Thanks to Robert, I decided to open a new synthwave label with Vitalic ex manager Fred Gien, it will be operational early next year, and we have big plans for our artists.

When you sit down to create a track, what is your creative process? I know you use a ton of samples?
Yes I use a lot of samples, because I love the fact that you can bring that old feeling from an old record into a new song and make it sound even better.

What is some of your favorite gear to use when producing?
Akai MPC, Akai S-950, E-mu Emax, Yamaha TX81Z, Roland Alpha Juno 2, Lexicon reverbs and delays

What is the most important problem facing dance music today – and what is your solution?Getting back the money we lost from the digital and physical sales crash in recent years.This means fighting to force the streaming companies to raise their rates per play, so we can start to earn decent money from that, even as indie producer, and not only big pop stars with millions of plays.

It’s on the way, but it will take a certain time, hopefully this will get better – I’m positive about that.