64.

Dreamy and diaristic, Troye Sivan unites an atmospheric collection of songs that pour a powerful feeling of gloomy catharsis across the dark-tinged album. Blending the old with the new, Troye Sivan clings to a well-thought-out thematic compilation that strives to push boundaries but gets caught up in its own dour aesthetic trading out fresh creativity for a safe, diluted sound. Still, the six-tracks embellish Sivan’s already finessed writing style and artfully portrayed emotional vulnerability but does little more than that.

Songs that I liked the most: Easy - Rager tennager! - In a dream

63.

Greece’s dream-pop duo Keep Shelly in Athens returns once more with their sugary-dismal flavored tune in "Defy me", out now across major streaming media. Dreamy, down-tempo, exotic sound. Not for all ears. Recommended for those dreampop lovers who want more!

Songs that I liked the most: Defy me - Neon Glare

62.

Fourth album by dreampoppers Magic Wands; written, recorded, produced and mixed by themselves on their home studio over six months. Influenced by British and European new wave, post punk and 80’s pop music with a futurist flare.
"Illuminate" is Magic Wands expanding on what they did on their other albums, and probably the best record they’ve made yet. Everything is purposefully hazy and distorted but equally blissful with the sounds. The dreamlike quality they have captured, with definite structures and beats. Overall it’s really an unconventional pop record, and although they use certain 80’s style sounds it’s always with a futuristic angle.

Songs that I liked the most: Bat babby - Honeymoon

61.

Hurts latest album Faith takes their theatrical electropop style and applies it to a moody-rock backdrop. Their fifth album’s dark aesthetic comes off well timed in the quarantine era, where each introspective song reverberates with an existential loneliness. Throughout the lyrics of Faith, they pray that a romantic relationship will bring out the best of them, and occasionally reach out to a distant and absent god for solace.
The earlier portion of the album deals with being torn in many directions, while later in the album, exhausted and worn down, Hurts submits to help and hope. Faith is an album to turn inward to, submerging into one’s dark moods rather than dancing out the funk as they have done on previous albums.

Songs that I liked the most: Fractured

60.

'Sentient' by Conscience is an album with intelligently packaged content that offers synthpop for long-lasting musical enjoyment. Conscience is a band with a career of almost 30 years.
The song “Find them” describes doubts and uncertainty due to a possibly wrong view of the world, as this cannot provide answers to pressing questions. "And you have the idea / that your world view / could be wrong". “We surrender” has a critical approach. “It's all about the money / you can follow the trails” Social criticism is also exercised in “Technology and Nightsky”. "Addictive technology / controls your life / you can't get away from it / you 've sold your soul". Criticism is also expressed in "Collapsing Minds", but this is musically calm and cautious. "Collapsing economy / collapsing worlds / collapsing minds". “Of promises and dreams” involves dealing with emotions, reactions and wishes. "Fulfill your promises / ignore your dreams" "Die for a while" is the favorite on the album. The matter of self-destruction is touched on in a melancholy manner. We 're destroying ourselves / In search of destruction". “Sentient” is a well made long player. The inclined listener is presented with music in a discreet way that arrives easily and relaxed. Melodic and emotionally packed Electro-Pop is brought to the market with a certain dynamic. There are 10 tracks on the disc, which will definitely keep you from getting bored.

Songs that I liked the most: I will stand when you fall - Die for a while - You wonder why

59.

"Valor" is the latest release from White Willow's Jacob Holm-Lupo, his art-rock/pop side project that now has quite a sizable discography to their credit. It's The Opium Cartel's '80s electro-pop/New Wave/club tendencies that really are their strong point, with tunes such as "Under thunder" and "The curfew bell" tailor made for that era, and, had Holm-Lupo offered these songs to a very young Madonna in 1985, we'd probably be seeing these songs on a Greatest Hits set of her material from that era. Also here as a bonus track is an almost unrecognizable version of Ratt's "What's it gonna be", gone are the raunchy '80s metal tones and instead replaced with lush synths and soaring Tears For Fears styled vocals. Very interesting. Of course, a blazing guitar solo had to be included though!
"Valor" is a really fun listen, and another in a fine line of releases from The Opium Cartel. '80s synth-pop fans should certainly check this one out.

Songs that I liked the most: In the streets - Nightwings - What's it gonna be

58.

After 11 years of waiting, the Swedish synthpop kings of Rupesh Cartel released a brand new EP... and it sounds gorgeous! The songs on this EP preserve the classic Rupesh synth sound adding some interesting new elements. I hope that a full lenght album will follow this release sometime near. This left me wanting more.

Songs that I liked the most: Lodestar - Diving bell

57.

At 1980 have released this year their debut album “A thousand lives”. At 1980 is the retrowave project of producer Adrian Quesada Michelena (Spain) and singer Josh Dally (UK). The overall sound of this record is mid-80’s all the way but brand new in the 2020’s, and will attract those never even born in that great decade as well as those of us who remember it well. The album kicks off with the title track with vocals from Dana Jean Phoenix, who adds to the sparkly backing track as if it had just come straight out of a movie. The art for the cover sleeve is simply beautiful.

Songs that I liked the most: In the air

56.

The slow, sometimes bittersweet songs -whose reserved tones sound more like enigmatic lullabies than any type of dreampop- come to life as seductive and slow pop songs when Wilde adds a little fire to her usual feathery sweet warble; sounding like what could be a wiser and more plaintive older sister to a younger, wilder, and more energetic Florence Welch.
The addition of cascading, reverb-drenched guitar stylings and airy electronics give the songs multi-layered and textural edges that feature atmospheric and lush vocals.
But these vibrant tunes are few and far between. Too often the pleasant musical tapestries drop too far into the background with slower tempos and sparse arrangements and tend to fade away and lose their appeal. Only to rise again on the exceptional “Swimming Lessons,” which is a much more expansive and dreamy affair and shows off the band’s ability to create lush and emotional dreampop.

Songs that I liked the most: Every atom - When it all comes true

55.

This second album by Promenade Cinema takes them in new directions, sure -and absolutely sees them adding new elements to their sound- but also sees them wisely ensuring that there are threads that take you back to where you’ve been. Perhaps in the fashions of music releases nowadays, "Exit guides" is a shorter, perhaps slightly snappier release than the debut -just eight songs in around forty-minutes, although much like what came before, some of the songs are lengthy still.
A fiercely intelligent, creative synthpop band continue to build their own legend with this album, but they are making you work for it here.

Songs that I liked the most: Nothing nouveau

54.

"Chaos and a dancing star" renews Marc’s association with producer and co-writer, fellow Northerner Chris Braide. The result is a very productive collaboration with an interesting mix of dark ballads, bright pop and the occasional nod to their joint love of prog rock.

Songs that I liked the most: Hollywood forever - Dust

53.

Many of the best collaborative musical projects are far from intentional, but were rather born of the incidental recognition of two artists realizing they speak the same creative language. Such was the case with Kris Esfandiari (King Woman, Miserable, Nghtcrwlr, Dalmatian, among others).
"Love addict" is an impressively succinct marriage of the wistful vocals populating King Woman’s doom-metal opuses and the infectious trap beat of WPSE’s recent single “Hardcore”, as demonstrated by lead single “Losing”. With the duo residing in different hemispheres (Baylis is Australian, Esfandiari Californian), they seem to have enough in common in terms of musical aesthetic and life experience to explain the seamless merging of identities on “Losing”. "Losing" is about the insanity of love addiction, of doing the same thing over and over again and expecting different results. The song is an expression of the way we feel too much, too often, and the bizarre ways in which heartbreak manifests. It was the first song we ever wrote together, the day after we met, and the rest of the record followed naturally from there.

Songs that I liked the most: Flowers and pollution

52.

The material, entitled "Synchronicity", fuses electronic music with rock and jazz, giving their music an electrifying combination of sounds and a unique and irresistible sonic imprint.
In the midst of the profound social and cultural changes we are currently experiencing, the Copenhagen trio highlighted the value of collaboration for the creation of this album. Among the guests who contributed their music remotely are Adana Twins, Rebolledo, Michael Mayer, Frank Wiedemann, Marc Piñol, Echonomist, and many more.

Songs that I liked the most: Oblivion - Cecil - Twenty years

51.

Retro synth junkies and pastel schlock purists, welcome to your new neon dream wave. Korine have distilled every pinpointed reference to synthpop and retro kissed indie, and created an 80s love letter in their new album "The night we raise".
Though the citations and credits of Depeche Mode, New Order and Erasure are well worn, in the case of Korine they are worthy. Nuances dug from pre-dance guitar rhythms, the synth modulations that ramp up a track, that tell-tale snare sound and those slight-echo vocals, they’ve been lovingly sniped and updated. Add that nostalgic comfort to the goth romance voice that recalls Robert Smith at his poppiest, and we have something more than a throwback.

Songs that I liked the most: Fate

50.

This album in itself keeps on giving on many different levels. While the Brazilian/American artist constantly delivers songs of great quality and depth, thanks also to her breathtaking falsetto that brings often shivers to the spine, throughout the whole record and either when she sings in English or in Portuguese, it is also important to highlight the incredible amount of work gone in the sonic construction of "Endless space", where walls of warped samples, dreamy synths and 90's fuzzed guitars complement Samira's songs in the most enthralling and creative way.
This album is among the freshest and most innovative musical baptism that a music artist can possibly dream of. Given the astonishing outcome of Winter's debut album and the amount of talent expressed through this wonderful record, there is no doubt that, in the horizon of the music business, another star is shining bright and that star is called Samira Winter.

Songs that I liked the most: Say

49.

My Love Kills are back less than a year after their debut album ”Glitch” that was well received. More creative than ever presenting 19 new songs. The summer of 2019 marked the beginning of the band’s second album: much more personal, black and addictive, ”Imitatio dei” is a set of hits born in a very particular context. Arkames has transformed his current personal experience, his divorce, into a lyrical exorcism, putting the words that hurt on paper. Fredrik has composed without interruption over twenty new electronic bombs that are at once dancing, melancholic and catchy. A journey into the darkness of souls, that’s what My Love Kills has achieved with this album.

Songs that I liked the most: Unterwelt

48.

The album contains one anthem: "Like breaking glass", in which the synths splash and the percussion bubbles during the sort of habitually earworm-inducing chorus Cut Copy have long been celebrated for, and that surely pays for all those vintage analogue synthesizers. The song sounds sparse when played between thickly-braided anthems from In Ghost Colours or the endearingly overstuffed, festival-worthy uppers on Free Your Mind. Listened to in the context of Freeze, Melt – after the measured buildup of "Cold Water" and before the six-minute-long slow jam "Love Is All We Share" – the song reaches radio-friendly peaks.
Freeze, Melt isn't aimed at the radio, though. This time around, Cut Copy trade in accessibility for expansion and make their pop a touch more cerebral by imbuing it with elements of IDM and ambient music. The opening minute of "Cold Water" is reminiscent of the ambient compositions on keyboardist Hans-Joachim Roedelius's 1981 album Wenn Der Südwind Weht. Album closer "In Transit" is likely the closest Cut Copy will ever come to recording a Boards of Canada song. "Stop Horizon" doesn't introduce the rhythm section until about four minutes into the track.

Songs that I liked the most: Like breaking glass

47.

Beyond Obsession are back with their new album ‘Revolution from below’. The white boots appearing on the album cover seem to remind us that Beyond Obsession are still the same and yet different: on nine tracks, the three guys from Germany surprise us with a wide variation of experimental synthpop and classic 80’s elements, making every single song an intriguing piece of work. The lead singer’s voice seems to know no boundaries in heights and puts you into a beautiful melancholic mood.

Songs that I liked the most: Break away

46.

More than 20 years in, Destroyer keep challenging themselves to make vital music, and Dan Bejar remains one of the most unique songwriters and vocalists out there. "Have we met", though perhaps less ambitious than Destroyer’s best work, is nevertheless their freshest and most enjoyable record in years. To maintain this kind of output -and, more impressive, this kind of urgency- after so long is something achieved by very few bands. Dan, keep following your intuition.

Songs that I liked the most: Crimson tide

45.

This album has ambitious writing and purified, clean production. They're also able to bypass the awkward ‘finding our sound’ first album, instead, unapologetically unleashing all kinds of mayhem across a confidently chaotic 11 tracks, establishing a New Romantic-meets-80s pop-alt-rock-collision crash to a standard that even the best genre-mashers would be proud of.
Instant Transmissions is an explosion of sound, a rebirth and a guidebook to the bedlam of contemporary life all rolled into one. It is a fizzy, glittery pop monster.

Songs that I liked the most: Headlights - When they come

44.

More than a year since making its debut with the “Lost” single, goth/post-punk duo Hallowed Hearts released full-length album, titled "Into the fire". Driven by the instrumental and production prowess of Andrew Sega (Iris, The Alpha Conspiracy), and the emotive vocals and lyrics of Alex Virlios (Blue Images, CTRL), the album presents what the band hopes will bring “a different perspective to the post-punk renaissance that’s happening right now,” with a combination of modern and contemporary influences. Virlios explains that the lyrics throughout Into the Fire are “memories evoked by the music,” inspired by his travels around the world and the “Little tales of fact and fiction that came to life while on various excursions and adventures.” With the previously released “Lost” and “Shatter” singles.

Songs that I liked the most: Shatter

43.

New Zealand indie poppers The Naked and Famous return just in time for the summer with their fourth studio album "Recover". This is bands first full-length as a duo, now comprising founding members Alisa Xayalith and Thom Powers. Drummer Jesse Wood and original member Aaron Short departed the band in 2018 which has given the founding members freedom to explore and expend on their previous records while going back to basics of what made them so successful when they first arrived. The Naked and Famous have always been purveyors of dancefloor ready anthems, and Recover is no different.

Songs that I liked the most: Recover

42.

Since their formation exactly a decade, Widowspeak have emerged as one of the pre-eminent dream-pop / dream-folk bands on the planet. Their music ranges from late-’60s / early-’70s Laurel Canyon to mid-’80s dark pop, where every song possesses a warm, even breathless effect. But like the music of these eras, there is much more to singer-songwriter and vocalist Molly Hamilton and guitarist Robert Earl Thomas’ sound. As they’ve gotten older, their songs have increasingly become vignettes of the times and even quiet protests. On their fifth LP, Plum, they unveil their most poignant and enrapturing album, and it arrives just in time.

Songs that I liked the most: Breadwinner

41.

Throughout "As long as you are", Future Islands seem comfortable shifting moods and tempo. The gentle balladry of "Glada" is followed by the driving single "For sure" as Cashion's playful basslines dance all over the beat and cooing backing harmonies support Herring's belting in the chorus. The pace becomes frenetic on the breakneck synthpop of "Waking", as Herring waxes positivity: "To be yourself / To see yourself / To see the world is to wake brand new."
Some of the album's other highlights include the gentle "City's face", a ballad that's delivered with a light, sophisticated touch and sounds almost like a lost track from Roxy Music's Avalon. Then there's the swaggering, airtight funk of "The painter", and the winsome closing track "Hit the coast", in which Herring accepts the end of a relationship and equates it with his love of music. "Pressing play on this old tape was a bad move," he sings. "Reduced to hiss / This record I loved / Some record I've missed / Just static - an absence." The song ends abruptly with the clunky sound of a cassette player hitting "stop." It's an appropriate closing moment for an album that pays tribute to the past while emotionally resonant and sonically thrilling.

Songs that I liked the most: I knew you - For sure

40.

"The neon" rises the proven Erasure formula for bright, club-ready pop tunes that somehow manage to sound nostalgic and timely all at once. The lead singles do much of the heavy lifting.
A new Erasure record is an undeniable positive for the world. The Neon delivers mostly carefree synthpop comfort food calibrated to appeal more to our feet and our hearts than our already overtaxed brains. The record is certain to thrill devotees and potentially catch the ear of an unsuspecting Release Radar listener or two; whether we’ll still need it once these current hard times end remains to be seen.

Songs that I liked the most: No point in tripping - Shot a satellite

39.

The Freezepop's fifth studio album and first release in 10 years warps open with “Queen of tomorrow,” showcasing standard moog buzzes and intertwined square leads, all commanded by the sharp vocals from bandfront and queen of today and always, Liz Enthusiasm. “Heat Lightning Hott” borrows elements of vaporwave, gated roto toms, and a killer moog lead, resulting in perhaps one of the very best songs in the quartet’s discography. “You’re Awesome; It’s Killing Me” shifts from strength to Freezepop’s signature “Hyper cute” standards, and is friggin adorable.
Freezepop has effortlessly known exactly what their sound is for over two decades, and they just keep getting better. Great listen.

Songs that I liked the most: Queen of tomorrow - Memory disappears

38.

Black Nail Cabaret have an infectious, accomplished album on their hands here. With 'Gods verging on sanity', the duo has an album that is essential to the genre in modern times. At times it sounds like the classics, at times it carves out its own niche of sound, but throughout the entirety of its runtime, it is polished and dreary. Go out of your way to hear this one.
This duo have crafted a dark noir-pop sound all their own. This record is highly recommended to those Depeche Mode fans who love the dark sounds of the 90's era.

Songs that I liked the most: Private religion

37.

Let’s get this out of the way early: The Caretaker is fantastic. It’s a ballsy pop record that often uses restraint and delayed payoff to create a deeper connection. Rose is good at writing choruses, but her songs keep their distance more often than not, like she’s meeting us on her own terms. The album employs the same distancing technique – keeping those close to us at arm’s length to better ourselves, and letting friends in when the timing is right. “Don’t you worry about me, I won’t worry about you,” she sings on single ‘Ordinary talk’ – “I’ve got places in my mind that I’ll never find if you’re holding my hand like you always do.” The song blossoms with layered vocals, slinking keys and drums that you could sink into. It’s a gorgeous slow burn at the core of the album’s balance between opening up and closing off as a person.
Her melodies and production are both taut and winding, dodging easy categorisation. Drum machines and sour keyboards meet piano, flute, and clarinet as these individual songs grow.

Songs that I liked the most: Brace

36.

Chorea Minor explores the various aspects of the human soul with all its bright and dark sides demonstrated by the black / white concept. Another essential issue is the environment which becomes more and more important at a time of upcoming dramatic changes on our planet. The lyrical content is accompanied by spherical-rhythmic electropop, its transparent sound forgoing any bombast and concentrating on melodies and clear structures.

Songs that I liked the most: Living only twice

35.

This is the most powerful sounding and dancefloor oriented album of this bunch. A release that is made for the trendy discos and it comes at exactly the right time. Now that melodies are more in demand again and are also enjoyed on the dance floors, this synthpop, in terms of tempo is above classic synthpop, a guarantee for a good mood. The music seems light, playful and trance-like, but not unrelated to the scene, the lyrics are genuine and unaffected, and "Iggis" vocals give the whole thing the emotional depth that it needs to anoint the black soul. The remixes are all of high quality and carefully selected, so that you definitely get the feeling of hearing a full-fledged album. The layout of the digipak is simple, the feel is valuable.

Songs that I liked the most: Where are you

34.

Mourn is an intelligent and thoughtful album, an effective and candid article on modern life. And Toms’ maturity is a welcome voice in an industry over saturated with excessively flamboyant plumage. But with over twenty years of always on par or below records you are bound to learn a thing or two and Toms’ perseverance, and diligence, makes Assemblage 23 synonymous with darkwave.
Assemblage 23 takes onus for whatever tragedy Tom has inflicted on his notepad and forges a compelling reserve of emotion. The opening track Epiphany alone breaches the distance between artist and listener. Causing an emphatic bulb to well in at least this listeners throat. The narrative of Mourn is mostly introspective but it touches on commonalities so ingrained in today’s’ first world problems that it speaks volumes. Even if it is mastered near perfection.
For the most part Mourn continues to deliver arresting rhythms coupled with buoyant leads. Where it follows up the incredibly potent opening with a good few hot floor killers before cooling down to a simmer of transitional fillers, only to burst out again like a geyser in a tepid fjord. It is a charming album that leaves you satisfied and fulfilled.

Songs that I liked the most: Epiphany, Anxiety, Tragedy.

33.

Recently, the Canadian musician has been carving her way into the aforementioned mix of icons thanks to a bubbling, enthusiastic following. Far from a newcomer to music, she's been evolving and experimenting with styles for years, but Cape God finally sees Allie X reaching her fullest potential. Pop music is helping experimental and unique music push the boundaries and understanding of pop as we know it.
Cape God is an album undeniably made by a woman truly forging her own path however she sees fit. Not to mention championing the wickedly bright future of avant-garde, ascendant music.

Songs that I liked the most: Rings a bell, Love me wrong.

32.

First album of this awesome act including eleven songs that make us dance and dream at the same time, they give us a postpunk imbued with dreampop and synthpop quickly sticking in our minds. The bass and keyboards dominate freely and often the drums lift us off the ground in dreamy and thoughtful dances. The atmosphere is spectacular, clear and fast, thanks also to great vocals, the tracks sit on our breaths. The 80s, the best years for this musical genre, come back: they are back finding new solutions and new sounds. Our eyes close and our imagination opens: we are inundated with suggestions and territories without chains.

Songs that I liked the most: Out of your system - Parking lot job - Crime scene

31.

Ulver may be the only one to land an album like "Flowers of evil", their second in a row to pivot fully into the realm of late-‘80s synth-pop, although even this is a testament to the surprising fact of just how many pioneering Norwegian extreme metal acts have a soft spot for Depeche Mode.
Compared to its more thematically unified predecessor, The Assassination of Julius Caesar, Flowers of Evil is a looser affair, albeit similarly founded in a generally bleak outlook as it considers contemporary life.

Songs that I liked the most: Machine guns and peacock feathers

30.

Strvngers' ZAYKA is an intimate look into the aftermath of an abusive relationship and heartbreaking insight that only comes with hindsight. This album takes you through the mental anguish, confusion and self doubt when dealing with a true narcissist but ends on a positive note. Written, performed, recorded, mixed and mastered by Strvngers (pronounced Strangers). It is a record full of experimentation and electro beats, electro sounds and electro screams.

Songs that I liked the most: Stockholm syndrome

29.

Velvet Kills created an album, that matches the gothic mysticism of a mind exploration, in order to be freed, with a quite minimalistic use of dark synths, absolutely enpowered, when the tension of the album needs to lift us up and be stronger. "Bodhi Labyrinth" comes with six chapters/songs talking through sarcasm for everyone's ugly face and thoughts. Punk when needed, melodic dark wave, dark electro, when you have to dig into your feelings. I think I could handle two or three more steps (songs) in this labyrinth. However, this doesn't mean that "Bodhi Labyrith" lagging in any aspect, in order to complete its concept.

Songs that I liked the most: Bitch face

28.

This U.S. indiepop project can create moods and fluffy soundscapes. Often structured in electronics, but backed by walls of organic sounds and John Kunkel’s relaxed vocals The New Division could appeal to vast audience. Soulful slow pieces like “Modus” and more dance friendly songs like “The Line” walk side by side on “Hidden memories” and it’s a well working balance. After numerous listens my initial opinion about The New Division lingers. I listen, but hear very little. It is probably going to work wonders for the initiated, but for me the album kind of recedes into the background. I realize this is quality pop music.

Songs that I liked the most: Ride - Broken

27.

Azier’s fourth studio album is his unquestionable masterpiece. It combines a tangible retro-80s feel (beginning with his voice, which recalls Tears for Fears’ Curt Smith) with more modern production and electronics. It employs a Dutch orchestra that allows Love, Disorderly’s emotional zeniths to swell and flourish like never before. It also does more with less – Azier is lyrically vague, with songs often consisting of a mere few verses or a handful of repeated mantras.

Songs that I liked the most: For Tsoy - If there's a god

26.

After almost 20 years... Entertainment EP is Merge's last echo from the past, again produced by Olaf Wollschläger and released under Gate1Records. One of the 4 tracks of this EP is a stunning cover version of the classic song "Nowhere girl" by the English new wave band B-Movie, a classic from the 80's. The other three songs are classic Merge: mellow, moody and melancholic dark pop. Just like a well-aged wine.

Songs that I liked the most: Catch me - Nowhere girl

25.

The latest Rotersand album “How do you feel today” is a climax of all this, both an essential status quo of our civilisation and a profoundly biting piece of social criticism. Never holier-than-thou, never with an imperative. But with a weapon that's seemingly the only one able to melt the ice around our hearts and pierce through the brutalisation of our days: Huge, sublime music. electronic anthems for humanity.
We live in dark times in which even the most essential values seem to evaporate in the blink of an eye, becoming cue ball to spontaneous moods. But a record like “How do you feel today” can be the beacon in this darkness. Nobody comes close to Rotersand when it comes to electronic music anyway. Now at the latest, however, they should become an official national treasure. “How do you feel today” is so much more than a profane question. It's the safety buoy keeping us from drowning in the raging waves of modern times' information overload.

Songs that I liked the most: Who are we now?

24.

The pop-oriented structure of "Stray fantasies" may be more of a crowd-pleaser, but it's executed exquisitely and without a trace of shameless nostalgia. While there are definite nods to 1980s standard-bearers like New Order and Erasure, it's easier to see them as kindred spirits to current artists like the Drums or the Pains of Being Pure at Heart: scooping up influences of the past while remaining unique and deeply relevant. "Stray fantasies" sees a band working within an easily identifiable synthpop structure but bouncing around comfortably within the genre with songs that all have a unique stamp.
The album layers so many instruments into the mix, it's hard to believe that this is a duo. Yuuki Matthews of the Shins engineered the album masterfully. But the sonic effect is rich and vast and never seems overstuffed or fussy. The multi-tracked results can often be quite stunning, especially when sudden cascades of instrumentation join Hollie's hazy, dreamy vocals.

Songs that I liked the most: Stray fantasies - Iteration

23.

Mother is yet another solid outing for Cold Beat. A mix of really pleasant synth songs, but keeps the setlist fresh with different variations of the genre that help keep everything moving until the concluding track. For fans of Hannah Lew, or other synth-based acts, this record is a must listen!

Songs that I liked the most: Prism - Smoke - Gloves

22.

(Clan of) Xymox has been a musical entity under one name or another since 1981, with Ronny Moorings continuing to stay the course and steer over new dark waves. With "Spider on the wall" marking the band’s sixteenth record, it might seem like a fresh take on Clan of Xymox’s distinctive sound would be a tenebrous task; however, the album proves to be an echo chamber for the noir romance that emerges from Xymox’s signature style. Ethereal vocals wrapped in reverb haunt over the gothic bass lines and synth loops in a cascade of musical craftsmanship that’s as weathered as cemetery marble.
At times, the record can feel like an assembly of a la carte singles, but anyone familiar with the Xymox discography will likely feel taken on a journey as the record weaves and curves through soundscapes past and present. This journey can almost end up feeling like a Clan of Xymox love letter to itself, which isn’t a bad thing by any means.

Songs that I liked the most: Lovers

21.

In many ways, this meticulously crafted debut album harks back to the 1980s, particularly in terms of the spotless keyboards and occasionally relentless dance beats. But the lyrical content is cathartic, timeless, and deeply personal.
With this album, Micah Visser has created what can easily be defined as a concept album, with song lyrics almost like diary entries. Recorded by Visser and producer Neil Comber (Charli XCX, M.I.A.), the songs run the gamut from soulful piano ballads to dancefloor thumpers and everything in between. Despite the sometimes sweeping, epic musical arrangements, Visser is determined to keep the subject matter grounded. he music maintains a gleaming pop sensibility but charges hard and rocks mightily when necessary. Boniface has managed to do for 1980s pop on this stunning, multifaceted debut album: embrace a genre while effortlessly elevating it.

Songs that I liked the most: Keeping up

20.

Diorama released their eleventh album, "Tiny missing fragments", which comes with twelve songs and is lasting for over one hour. The music on each song is quite mellow and the rhythms are very steady. This almost hypnotizing music will get your mind to relax and your worrying thoughts at ease. Only a few songs are a little faster in the rhythm, but these are catchy enough to pull you onto the dance floor. All songs have catchy melodies and a dreamy arrangement with each song telling stories that are worth listening to. Since the album lasts for over an hour, you actually have time to fully sink into the music and soak it all up. Most songs carry a quite melancholic mood.

Songs that I liked the most: Charles De Gaulle - Irreversible

19.

One song after another in 'A cinematic goodbye' overflows catchy good songs, in an indiepop mood that keeped me, as a listener, hooked on it over and over again. This second album by Written Years was re-did a couple times over but ended up saying everything we felt like they really needed to say, lyrically and as musicians. They didn’t try to make a pop album, it’s dark at times but was its own catharsis for them.

Songs that I liked the most: Superficial feeling - Lost in you now - Elephant

18.

The music has that early 80s electronica feel but with something that says it’s of now, it’s moody and dark. It’s meticulously put together, crafted. With great words -sometimes it’s not immediately obvious what a song is about- sung fabulously.
Overall, this album is mostly retro electronica, with clear inspirations of OMD, Heaven 17, The Human League and Depeche Mode.

Songs that I liked the most: Superposés - Enough fears

17.

It’s be easy to attribute the direction that this fourth album takes purely to the fact that Jasamine White-Gluz is now solely at the controls. In truth, though, that would be to overlook that stylistic wanderlust has been their calling card ever since they chose to twist rather than stick with sophomore LP Wait to Pleasure in 2013. There was nothing to stop the Montreal then-two-piece from serving up more of the same when their reverb-drenched debut, Ghost Blonde, brought them international indie recognition, but instead, White-Gluz and guitarist Laura Lloyd played around with new ideas - particularly psychedelia and polished pop on their last outing, 2015’s More Faithful. The result is a blisteringly progressive record - one that genuinely feels years ahead of its time.

Songs that I liked the most: Kidder

16.

"Low season" sees a pretty significant change in Poolside‘s style, but this just goes to show that change isn’t always a bad thing. This album feels way more accessible than any of Poolside's past music, which was already really welcoming. "Low season" has absolutely massive hooks; instead of just being inviting to the casual listener, these songs are earworms that are very likely to have anyone who hears them in passing seek them out for more listens. “Around The Sun” is one of my favorite songs of the year so far, and a huge highlight of the album.
The retro synths are warm and nostalgic; the whole thing is incredibly mellow and great for a listen at any time. It’s not an incredibly deep listen either. There is a lot going on at the surface level that just melds together really well, making for a relaxing time. If you’re the kind of person who likes something more substantive, there are a plethora of sounds dancing around in the background.

Songs that I liked the most: Abandoned tunnel - Sunrise strategies

15.

"Sleepless" is the superb new studio album from TX-based retrowave duo Nite, comprised of twin brothers Kyle & Myles Mendes. They have been local favorites in both Austin and Dallas, even receiveing a nomination this year from the Dallas Observer for Best Electronic Act!
Sleepless overflows with danceable grooves, memorable melodic hooks, and rich, well-crafted songs.

Songs that I liked the most: Pretending to be

14.

New Washed Out album is about a breakup, which might seem strange for such an orthodox chillwave album. But when you think about it, it works. The music on "Purple noon" assures us everything will be fine in the end, which is usually truer than the conceit of so many albums that the end of a relationship is an apocalyptic event. The biggest difference between "Purple noon" and past works is that it loses much of the earlier haze and leans into streamlined Balearic sounds. There aren't many noises here that'll make you do a double-take and play it back to make sure you just heard what you heard, no phasers or flange or anything "psychedelic" beyond his usual acres of reverb. But that reduction makes the album go down more smoothly.

Songs that I liked the most: Face up - Time to walk away - Too late

13.

Empathy Test, in this album, tread a fine path between outright commercial accessibility and a pure indie ethos: there is beauty and pop sensibility yet there is also an indefinable level of grit in the themes and lyrics. This is an album that evokes anxiety and disquiet while uplifting you with its melodic strengths and evocative emotions. Many of the songs deal with very contemporary issues - witness ‘Incubation song’ with its dark synth splashes and closeness evoking suffocation and and isolation prevalent today. Darkness and obsession leavened by the driving, percussive beats and synth sweeps.
Indeed the synth-strong sounds certainly evoke the very height of eighties where the post-Kraftwerk boom saw the marriage between the cold, emotionless synth sounds and effervescent uplifting pop - think Depeche Mode, OMD, Alison Moyet, late Joy Division and New Order. And this is an ensemble in which Empathy Test comfortably fits.

Songs that I liked the most: Monsters - Empty handed - Incubation song

12.

I’m not the biggest fan of Stuart Price’s vision of the Pet Shop Boys sound, it is house and electro oriented, mixed with pop, things that not always work well.
A retro sound is even more present on Hotspot, than on Electric or Super. PSB and Stuart recorded the album at Hansa Studios, which has a lot of old synthesizers around. They’ve been using analogue synths throughout their career, so it’s not really anything new. One could argue that it’s the PSB sound. It’s certainly recognizable.
Hotspot is a very diverse album. I like how varied the songs are. You can hear that the boys were inspired, self-confident and liberated. I usually put my focus on PSB non-singles songs, less commercial and more hardcore old-school fan oriented.
The lyrics are, as usual, witty, sharp and emotional. Neil is a master in painting pictures with words, and picking topics that speak to a broad audience, while being quite specific to a certain time, place and mindset.

Songs that I liked the most: Will-o-the-wisp - Only the dark - Burning the heather

11.

Handful of Snowdrops is a veteran alternative electronics project that planned to close a trilogy of EPs with the Gris edition, which finally did not see the light and the previous published works are added to this Blanc to form a remarkable long-playing album. The musical theme of the Blanc is perfect. From the instrumentals Tall Salls and Flattering The Curve to the more rhythmic ones like The Four Winds or Love Letters Perfumed With Ether, the Pascale Project collaboration is added in Misunderstanding, a true hit. Synthpop from the most underground of Canada. If you like the genre, you will like HoS.

Songs that I liked the most: The four winds - Flattening the curve - Broken open

10.

Laveda’s sound is also more salient and focused on melody than other shoe-gaze groups, and has greater pop attributes (dream pop) and regular pop (think Lorde). This might be because the band’s wall of sound employs creative ways of using fuzz, saturation, guitar doubling and Ali’s sweet and refined vocal style.
My impression is that the band is trying to convey what the end of the world will sound like; what silence sounds like, just like how you can’t see when it’s dark. They do this by creating faintness, airyness and musical parts that cover each other up so you can’t distinguish the exact melody or harmony the song is making.

Songs that I liked the most: CND - Better now - Ghost

9.

One of the purest works of this year in relation to this (our) genre: synthpop. "A broken shape of time" is -paradoxically- the "classic" modern synthpop sound born in the late 90's and raised in the early 2000's.
This album includes emotional midtempo songs and some ballads. All of them are good ones, but some are just brilliant. If you like bands like De/VIsion, Wolfsheim, Camouflage... this german project will not disappoint you at all. Nice work, Eduard Reik!

Songs that I liked the most: Metropolitan child - The war of our worlds - Hey you

8.

Born in Seattle, the singer is now based in Oakland, and that’s where she recorded her newest album "Sucker’s lunch". The producers of the album are none other than indie-rock band Wye Oak. They collaborated with Kenney before and also produced her previous album Perfect Shapes. Kenney previously released two songs off her new album, “Double hearted” and “Sucker.” The video to “Double Hearted” is constructed like one of those recipe videos. Someone is making a colorful, sweet dessert while the lyrics of the song come and go. During the instrumental parts, a text is explaining the song in a sort of sassy way. The video is a sweet addition to the album.
Sucker’s Lunch has a couple of highlights, and it’s masterfully produced. Kenney’s voice always has a kind of melancholy that is highlighted throughout the album. It might be less rock-influenced than Night Night at The First Landing, but people who enjoyed Perfect Shape will certainly love Sucker’s Lunch.

Songs that I liked the most: Sugar sweat - Jenny - Picture of you

7.

On her debut album under the name Ellis, a play on her initials, Linnea Siggelkow is thoughtful and reflective. With lyrics that pour from her as if she were thinking out loud and sweeping, transient instrumentation, this debut serves as a strong introduction. Siggelkow was raised a devout Christian, but as so often happens, leaving home for college made that devotion more complicated. The record’s title, Born Again, alludes to this self-redefinition. Siggelkow spends much of the album’s runtime looking back on past actions, thinking about them and what she wants to change moving forward.
The album’s lead single is the moment that leans most heavily on the pop aspect of dream pop. “Fall apart” is an instantly catchy apology. Siggelkow ends its chorus with the plea “I didn’t mean to fall apart,” followed by robust guitars fighting their way through sickly sweet synths. She knows she’s done wrong, but she’s trying something anyone listening can relate to, perhaps letting them carry the sentiment with them the next time they try to improve.
This album is festooned with little touches, filling every up every corner with detail. And of course, it’s deeply worked-over. Nearly every track is built around a thought or feeling put forth to be reexamined. It’s this thoughtful nature that sets the record apart. By baring her soul, Siggelkow has created something as personal as it is transfixing.

Songs that I liked the most: Born again - Fall apart

6.

The first album release from Jigsaw Sequence, contains the two singles " Day one" and "Time will tell", as well as seven new vocal tracks and two instrumentals. Inspired by his love all 80's New Wave / New Romantic music, he has tried to combine elements from that era, with a more modern production. It also contains a brand new remix of the Berlin Girl track by Fused aka Mark Kendrick, as a bonus track.

Songs that I liked the most: Dead lights - Heavenly - Time will tell

5.

After the first two singles have already had a successful start, the final album announcement for Zoodrake is finally here! Zoodrake is the new project by singer and producer Hilton Theissen. With the first two singles in 2019, ‘Sent to you’ and ‘Our light’, there was already a foretaste of the debut album. ‘Purified’ completes the musical picture, which enriches the electronically based synthpop with alternative rock and retrowave elements.
Zoodrake focuses on charismatic vocals, emotional songwriting and atmospheric sounds that like to cross stylistic boundaries. The ten tracks will be presented on tour in 2021 along with some song interpretations of Hilton’s former band Seadrake and his old parent formation Akanoid.

Songs that I liked the most: Fear - For a while - Lasting

4.

With life weighing heavy on their shoulders, Brooklyn new wave revivalists Nation Of Language are making sense of their lives through irresistible gloom-pop. A cloud of emotional uncertainty lurks over their blissed-out debut album, a key factor in what makes this band just so genuine.
Their influences are expansive and worn proudly throughout this debut. It doesn’t take long to spot the obvious ones, perhaps the most telling comes as the stark voice of The National‘s baritone singer Matt Berninger, which is dotted throughout. Elsewhere you’ve got elements of eighties pop royalty, be it the OMD synths on the rousing ‘Automobile’, Japan-like bass flourishes on ‘Sacred tongue’ or even strong Kraftwerk progressions with ‘The motorist’. But the album doesn’t dwell on such cultural touchstones – this is still a sound of today, proven with the sunset pop of ‘September’, dispatching a more upbeat and glossy euphoric tone.

Songs that I liked the most: On Division St - Rush & fever - Tournament

3.

This second album by Choir Boy, 'Gathering swans', is home to an eclectic blend of dream-pop, goth-pop, new wave, 80s synth-pop, and sounds inspired by the New Romantic period. Despite these nostalgic influences, what Choir Boy creates still sounds unique and authentic - in fact, they’re probably doing it better than many bands from the 80s. There’s a sense of yearning that remains present during the album’s duration - it’s an arc that glues the songs together, resulting in a tracklist that’s cohesive and smooth.
Gathering Swans is an impressive release where the album is a highlight in itself, but there are particular moments that stand out.

Songs that I liked the most: Happy to be bad - It's over - Shatter - Sweet candy - Toxic eye

2.

In 1983, the british band White Door released the legendary synthpop/new romantic album “Windows”, which gained radio rotation on BBC with hits such as ”Jerusalem”, ”Love breakdown” and ”Windows”. It was also highly regarded among the European fans of electronic pop music. The album was re-released on CD in 2009 after huge demand. Even the re-release is now a rare item on the second hand market. This turned out to be the only album from the band - until now!
In 2020 a long awaited, but unexpected, second album from White Door is happening after 37 years! The three original members have joined forces with a new, fourth member, the swedish artist and producer Johan Baeckström (Daily Planet etc.) to create an epic album titled "The great awakening". This is synthpop/new romantic the way it really should sound. Original fans of White Door from 1983 and new followers alike will certainly be more than pleased with their new release.

Songs that I liked the most: Angel of tomorrow - Beautiful girl - Lullaby - The great awakening

1.

Vaylon is back with ten new tracks in the form of the album "Legacy". And it is the perfect album for this year if you are looking for that nostalgic, melancholic synthpop sound that Depeche Mode used to do some decades ago. If you like bands such as Camouflage or De/Vision don't miss this one! Even the three singles -so far- include awesome remixes.
It was produced and written together with renowned musicians of the genre. This is another high octane album from Vaylon. Additional production was done by Jonas Öberg (Michigan, Modular State), Rob Early (11grams, Retrogramme) and Karen Martirosean.

Songs that I liked the most: Ghost - Deranged - Time flies - Unsung symphony