Synthwave – Page 5 – 7th Level Music

LUCKYANDLOVE encourage you to get off your damn phone on their new single – “I Am Human.”

LA-based electronic duo LUCKYANDLOVE returns with their banging anti-tech angst anthem ‘I Am Human’, delicately fused together with pulsating molten kicks, abrasive fuzz-laden analog synths and confident sensual vocals. Calling out to make our own choices and take back our lives, this song underlines the need to reconnect with being Human before its too late.

Evoking a brand new art school originality, LUCKYANDLOVE is the raw sonic experiment of Loren Luck and April Love, whose live analog synth beats, Moog instrumentation and beautiful, harmonic vocals trigger an immediate download of fuzzy sunset synthgaze, blue-black neon darkwave, and tigerprint electro punk.

‘I Am Human’ previews the duo’s third album ‘Humaura’ (hu • mau • ra), which the duo define as the atmosphere that emanates from the feelings of the human spirit void of technological control. This album was recorded, mixed and mastered for digital release by Grammy award-winning engineer Be Hussey (Modern English, Swervedriver, The Church, Alcest, Twin Tribes, Boy Harsher, Luna, Kim Deal) at Balboa Studio and Catwater for the digital music, and mastered for vinyl and lathe cut by Grammy-nominated engineer Nicholas Townsend (Cheap Trick, Weezer, Garbage, Dr. Dre, 2Pac, Grimes, Iron Maiden) at Townsend Mastering.

“To me, ‘I Am Human’ is a sci-fi track. It’s call to arms for screen zombies to disconnect. I read Martin Heidegger’s ‘The Question Concerning Technology’ in grad school and I like when he says that we shall have questions concerning technology and, in so doing, we should like to prepare a free relationship with it,” says April.

Loren adds, “I think there are a lot of people that actually hate technology, but would never have the guts to say it. Personally with this song, we are breaking the chains, going back to a simpler time of human creativity and free thinking,”.

Transcending genres in a league of their own, LUCKYANDLOVE’s visceral, urgently-present dark electro-pop appeal continues to stretch through time and space. Their ‘Lucky + Love’ and ‘Transitions’ albums earned them a global fan following and led to US and UK tours, while their tracks ‘It’s a Mistake’, ‘Animal” and ‘Summertime Frolic’ featured in the indie hit ‘Tiger Within’, featuring Ed Asner’s final film performance.

This salty-sweet duo blend raw analog synth sounds with driving punctuated percussion and punchy analog bass, complemented by enchanting lyrics that emit a range of emotions from melancholy and sorrowful glom to a state of blissful trance.

LUCKYANDLOVE’s influences absorb the resonant specters of last century’s darkwave gods —Siouxsie and The Banshees, Cocteau Twins, and Bauhaus, looming large from where industrial galaxies formed as the needle hit the vinyl groove urging all Doc Martens to march to basement dance floors.

As of August 5, ‘I Am Human’ is available from fine music platforms, including Spotify, Apple Music and Bandcamp. The full ‘Humaura’ album, slated for release on October 3 via SRD – Southern Record Distributors, can be pre-ordered from either Bandcamp or the LUCKYANDLOVE Store. On October 11, LUCKYANDLOVE will hold their record release party at The Slipper Clutch in Downtown Los Angeles via Deathrecordzz Presents with appearances by Warsaw Pact, Amore De Paris, No Exits, and a DJ set by Echolust.

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Nuclear Daisies’ new single brings you “Infinite Joy.”

There’s an obscured beauty and a slithering cool that oozes throughout First Taste of Heaven– It’s raw and driving, powerful and playful, all with direct songwriting that is as revelatory as it is mysterious and compelling. Nuclear Daisies is made up of Austin players Rob Glynn (ex Temple of Angels), Alex Gehring (Ringo Deathstarr) and Robby Williams. Together the three created a record that is literally and figuratively– an eye-opening, DMT-soaked view at a world in chaos– not to mention a new vision for 90’s alternative and big beat for the next generation.

First Taste of Heaven is about life in all its glory and shroud– a post-apocalyptic journey through celebration, love, heartache, pain, acceptance and finally transcendence– physical, spiritual and even supernatural. And though the creation of the record was based on personal trials and tribulations, it also offered escapism from that same harsh reality in the form of catharsis and healing.

“Infinite Joy”, available today announces itself with the snap and the thump of a breakbeat and a snarling bassline, starkly contrasting from Gehring’s breathy, seductive vocals which drive the track. The juxtaposition adds drama to pensive lyrics that mine the dredges of mental health and the road to recovery. “The lyrics perfectly express the depths of depression and the hopelessness that someone can feel to claw their way out of it,” admits Gehring.

Listen / Share / Playlist “Infinite Joy”

Nuclear Daisies tracked First Taste of Heaven at Hungry Dog Sound & Studio in Austin, Texas with Williams at the helm over the course of a year. Their inspiration was less obvious – “I’d say it wasn’t specific productions but more specific vibes that we wanted to emulate,” specifies Williams. “We had clear visions of how we wanted certain songs to not only sound, but feel too– very sci-fi and dystopian. One song we wanted to feel like attending the vampire rave from ‘Blade’– tense, pulsing, but also a little bit dangerous. We wanted a different track to feel like the underground rave at the end of the world from ‘The Matrix’ – just sort of this lawless party of no rules at the end of days. There were also times when Alex would be in the booth and we’d say ‘sing it like you’re crying’ or ‘try it like a dead choir member.’ There are a lot of wild influences in there that come from disparate places and not just conventional ideas.”

First Taste of Heaven is droney, cacophonous, and antagonistic yet serene and with melodic pop sensibilities that hook into you and don’t let go. It’s the follow up to their 2022 S/T debut which featured hit single “Heaven In Your Head”. Nuclear Daisies will soon see its reissue via Portrayal of Guilt Records in addition to the release of First Taste of Heaven on August 1.

Pre-Order / Pre-Save First Taste of Heaven

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[Thanks to Bailey at Another Side!]

Review: Rival Consoles – Landscape from Memory

Ryan Lee West, known to many as the man behind Rival Consoles, has put together his ninth album, Landscape from Memory, “from a scrapbook of discarded audio snippets” (according to a press release sent me) and synths and sounds made in hotel rooms and other spaces after taking a year off from music and, for a little while, losing his creative spark.

Thankfully, Rival Consoles found the energy and drive again and has released a fine record of ambient music, dance grooves, and atmospheric sonics. “In Reverse” starts the album with Radiohead-like synth bumps and bubbles and acoustic guitar that drifts in and out of those synths like happy birds coasting between trees. The beautiful “Catherine” is a song for West’s love, who helped him rediscover his love for composition and creating soundscapes.

“Drum Song” is well-named for its thumping, bumping beats. “Soft Gradient Beckons” is the sound of a happy, robotic bird waking up with the sun. It perfectly floats into “Gaivotas,” and that nicely drifts into the almost-industrial dance track “Coda.” “Known Shape” is an almost weightless dance track that feels like something you’d hear in a spaceport lounge. The fade out of “Nocturne” will make you feel like you’re calmly walking into or out of a fog.

“Jupiter” pulls you in like its namesake’s gravity and gets your toes tapping as you slide into orbit and feel your molecules vibrating. “In a Trance” (made in a New York hotel room) might put you there, and the ethereal “If Not Now” will help you stay in that meditative state for a while longer. The synths on “2 Forms” sound like they’re half-awake but still helping you dance at 3am.

“Tape Loop” has a twinge of suspense to it, and the title track closes the album with an uplifting energy – the kind that West found while making the track and the rest of the album while dealing with…well, everything everyone is dealing with right now.

Memory is often fuzzy, and creating or describing a landscape from it is often wrought with inaccuracies. This landscape created by Rival Consoles, however, feels lush and familiar…even in the darker parts. It feels like the right place at the right moment – which is right now.

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[Thanks to George at Terrorbird Media.]

Rewind Review: Pixel Grip – Arena (2021)

Just as we were starting to come out of the pandemic, Chicago’s Pixel Grip emerged from the weird state we were all in and gave us Arena – a wild record of dark wave, cold wave, techno, industrial grind, noise rock, and music designed to get us back into the groove of partying and screwing.

I mean, the album opens with throbbing bass and a song called “ALPHAPUSSY.” It’s a hot industrial track that grabs you by the throat (and crotch) and doesn’t let go for over three minutes. It picks up where Lords of Acid‘s “Pussy” left off. “Club Mania” thumps and bumps to keep the dance floor jumping. “Snap your neck, just to watch me walk up in the place,” says singer Rita Lukea – taking command of the club and your eardrums. “Take a break like a Kit-Kat candy bar,” she advises. You should probably take her up on it.

“Ruby” slides into sultry and spooky sounds, setting up perhaps a sexy liaison or a deadly encounter – your choice. The rolling synths (courtesy of Jonathan Freund and Tyler Ommen) of “Pursuit” sound great, and “Play Noble” is a neat switch for the band – briefly dabbling with electro-pop that mixes with dark synths in a cool combination as Lukea suggests, “Let’s stay up ’til the morning. This is your moment.” I hope you’re hydrated, not only for that invitation, but also for the following track, “Demon Chaser” (with guest vocals from MONĀE), which is nothing short of a hot, pulsing make-out track.

Just go ahead and put “Dancing on Your Grave” on both your Halloween and bedroom playlists. You’ll thank me and Pixel Grip later. The growling sound of it is like a panther circling you in the parking lot of a strip club while a murder of crows watches from the roof.

“Alibi” is brighter than most of the album’s tracks, and is a nice change because it shows off Lukea’s voice and how she can easily switch to lovely electro pop vocal stylings with seemingly no effort. They almost go full-synthwave on the closing track, “Double Vision,” which is another good showcase for Lukea’s voice and gives Freund and Ommen a great chance to show their love of Giorgio Moroder.

This whole record is dynamite. Get into this arena as soon as you can. You’ll like it there.

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Pearly Drops release “Ratgirl” from their upcoming third album.

Pearly Drops found their footing in an eclectic corner of the Finnish underground, going on to become rising stars in the global indie-electronic circuit. The forward-thinking duo of Sandra Tervonen and Juuso Malin has worked with artists including Nourished By Time and Vitesse X, in addition to receiving a Teosto Prize. Today, Pearly Drops announce their upcoming full-length The Voices Are Coming Back, which is out August 29, 2025 on Music Website. The album was conceived in Los Angeles through 2023-2024, draws inspiration from time spent during their travels in the “land of opportunity” and serves as a work of autofiction, a surreal, emotionally charged descent through an imagined Los Angeles, filtered through dream logic and internal chaos. Pearly Drops has also shared the single “Ratgirl,” which fully conveys the album’s shape-shifting surrealism. Lyrics about crawling through the walls as a rat tap into Lynchian mysticism, while grappling with themes of the Hollywood fantasy and surreal disillusionment. Supported by a propulsive, electro clash instrumental, “Ratgirl” embodies the sun-soaked weirdness at the heard of The Voices Are Coming Back.

On the track, Pearly Drops share: “‘Ratgirl,’ like the previous single ‘Mermaid,’ drifts further down Talmadge Street, now submerged in a feverish and uncanny night. With a full-on fantasy imagery and certain abruptness — ‘Ratgirl’ is like the weirdest scene in a David Lynch movie. Within this hallucination, becoming a rat crawling through the walls of a luxury Airbnb in Silver Lake feels less like a metaphor and more like a calling.

“In the realm of the real world, ‘Ratgirl’ may be our first work that leans more towards Dance music, fragmentarily attempting to recall the New Rave and Electroclash of the early millennium. As always, Pearly Drops’ Indie Disco most likely feels more tailor-made for the record bag of an imaginary DJ. Think of a foggy, empty and dirty club with a strobe light tearing through the dark—kind of eerie, kind of intense. That’s the feeling we wanted to bring into the music video.“

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Mareux and Riki team up for a lush new single – Ébèné Fumé.”

Revered pop/darkwave musician and producer Mareux (Aryan Ashtiani) unites with multifaceted artist/singer Riki on his nostalgic new single “Ébèné Fumé” out today via Revolution/Warner Records. Riki’s charismatic, confessional vocal performance is met with Mareux’s intricately crafted electronics for a compelling dance-pop track. Riki’s standout presence and masterful ability to merge music, movement, and style is followed throughout “Ébèné Fumé” striking video which was created by Muted Widows (Michael E Linn, Nedda Afsari, and Michael R. Zumaya).

Watch / Share / Playlist “Ébèné Fumé”

Where most artists would double down on the sleek, smooth-as-onyx darkwave and goth-pop that landed them in the spotlight in the first place, Mareux’s sophomore album – Nonstop Romance – is rough and unmannered, completely drunk in love and refusing to walk it off. Like a frilly valentine scuffed on hard pavement, it’s simultaneously gushing and fractured, distorted into illegibility but transparent in its intentions.

Throughout Nonstop Romance, Mareux sets up his songs like Venus fly traps, beaming romance and thumping beats underlit in a sinister red. Maintaining that balance—between the album’s obvious pleasure and the quiet threat that accompanies it—is central to its ethos.

“I’m trying to make something that’s reflective of me getting older,” Mareux says. While that’s usually code for calmer, more intimate material, the top priority of the adult life Mareux both celebrates and questions is having fun. “Could you put it on in your house with people around and not bring the mood down?” was the question that guided him.

“I’ve noticed that as artists get better or more seasoned, they go for a more polished, studio sound and lose their grit,” Mareux says. “I like when music sounds like found footage.” While writing and recording Nonstop Romance in his bedroom in Los Angeles’ Lincoln Heights neighborhood over the span of 2024, he’d set up an old CRT TV and watched films on mute for inspiration—anything from Andrei Tarkovsky and Alejandro Jodorowsky to Hype Williams’ Nas and DMX-starring Belly. If this sounds like an unlikely combination, Mareux fits them together naturally in Nonstop Romance, blending smeared tape-residue synths into readymade club hits.

On Nonstop Romance, Mareux prioritizes feel and vibe over clarity. Still, anyone who fell in love with his music via his viral cover of The Cure’s “The Perfect Girl” (now certified platinum Stateside, and gold in France) or the heartfelt noir of 2023’s Lovers from the Past will find plenty to swoon over here. This is an album that wears its title on its sleeve; an earnest manifestation. Though he brings a meticulous ear to the across this album, it’s all in service to a greater goal. “I only care about one thing,” Mareux says, “and that’s being in love.”

Pre-Order/Save Nonstop Romance

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[Thanks to Bailey at Another Side.]

Rewind Review: Various artists – French Electro (2008)

I found this two-disc collection of great French techno, house, and jungle tracks in a record store’s used CD bin for less than five bucks. It practically felt like I was shoplifting it. The Wagram Music collection from 2008 has thirty-one tracks on it from heavyweights of the genre and covers a wide ground of EDM.

Dim Chris starts us off with jungle (“Sucker”) and then big-time DJ David Guetta drops “Baby When the Light” on us to get the floor jumping. Charles Schillings‘ “Be Gone” is pure house, while the “Mike 303 & Baxter Baxter radio edit” of Superfunk‘s “Electric Dance” has so much thick electro-bass that it might clog your speakers. “Samplemousse” by Brian Arc is a fun house jam that builds just like you want a house jam to build. You’ll definitely want to get down to Antoine Clamaran‘s “Get Down,” and David Vendetta‘s “Bleeding Heart” (the “Arno Cost remix”) is quirky, funky, and junk-in-the-trunky.

Kiko‘s “Requiem for a Dream” brings in a touch of synthwave to the mix. Arias‘ “Flynn” practically reinvents “The Percolator” for 2008. Jaochim Garraud‘s “Street’s Sound” is a house track that’s both lush and a bit creepy. Are you looking for a naughty song to put on the next bedroom mix you’re planning for your lover? Look no further than DJ Gregory‘s “Breeze.” “Naughty” barely describes it. It borders on “filthy, almost to the point of absurdity.”

Alex Gopher goes big beat on us with “Aurora,” bouncing loud, bright synth sounds off the walls. “Punk” by Etienne de Crecy is a salute to Daft Punk, who appear with the “Para One remix” of “Prime Time of Your Life” after Surkin‘s “White Knight Two.” There’s even a bonus remix of ZZT‘s “Lower State of Consciousness” by Justice to round out disc one.

Yes, all that is just on the first disc. The second disc is a collection of fifteen “classics” (from way back in 2000, just eight years earlier than the tracks on disc one). “Intro” by Alan Braxe and Fred Falke starts it off with a great bass-heavy house track, and Cheek‘s “Venus (Sunshine People)” continues the house party feel. Bob Sinclair‘s “Visions of Paradise” ups the disco beats to keep you moving. Martin Solveig‘s “Heartbeat” takes that disco groove to Italy and back.

Julian Jeweil‘s “Air Conditionne” is a cool introduction to Super Discount‘s bossa nova-touched “Prix Choc.” The “Todd Edwards Vocal Radio Edit Mix” of St. Germain‘s “Alabama Blues” is a showcase of mixing techniques that will leave you impressed. The bass groove on “Use Me” by Alex Gopher with Demon Presents Wuz is infectious to say the least. Daft Punk returns with a fun remix of I:Cube‘s “Disco Cubism.” Arno Cost then returns, along with Arias, for their synthwave banger “Magenta.”

Da Fresh drops a “Fuckin Track” on us that’s as heavy as the growling synth bass on it. Didier Sinclair‘s “Lovely Flight” sounds like (and, by now, is) an old school house track. Speaking of old school, Sebastien Leger harkens back to old school raves when he suggests you “Take Your Pills.” If this song doesn’t take you back to dancing in an old high school gym with a leaky roof and the floor covered in straw, then Jack de Marseille‘s track will “Bring Back That Feeling.” The compilation wraps up with Laurent Garnier‘s “Wrap Up,” which will give you enough energy for the afterparty.

This whole thing is solid, and a fun mix of old school, house, jungle, and even synthwave. Start crate digging for it.

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Annie-Claude Deschênes drops hot (and slightly weird) new single – “Main de Fer.”

Montreal based multidisciplinary artist Annie-Claude Deschênes returns with new single “Main de Fer“, out now via Italians Do It Better & Bonsound.

On “Main de Fer”, Annie-Claude Deschênes fuses minimal techno with avant-garde to trigger a disorienting exploration through emotional isolation. An invisible grip engulfs the mind and erases the contours of the self, leading to a silence where breath is extinguished as the soul dissolves in the shadow of control. Its disturbing soundscapes and fragmented textures challenge the blindness of the self and others, offering us the opportunity to free ourselves from our inhibitions in a controlled chaos.

Listen here on YouTube: https://www.youtube.com/watch?v=WZ6UcsJQ9UM
Listen here on other streaming services:https://bonsound.co/maindeferRP

As a key figure on the Montreal independent music scene for the last two decades, she has left her mark as a performer & visual artist with Duchess Says & PyPy; two bands that are renowned as much for their electrifying live shows as they are for their artistic sensibilities. Always forward, her exploratory approach takes her into uncharted territory with her debut as a solo artist. The urgency that characterises her work remains, but frustration & aggression give way to introspection & vulnerability.

Over the course of her career, Annie-Claude Deschênes shared the stage with a number of renowned bands, including The Yeah Yeah Yeahs, Teenage Jesus & the Jerks, The Black Lips, The Hives, The Hot Snakes & Buzzcocks, among others. Her debut solo album titled ‘LES MANIÈRES DE TABLE’ was released last year via Italians Do It Better & Bonsound.

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[Thanks to Frankie at Stereo Sanctity.]

Rewind Review: Kalyanji-Andandji – Bombay 2: Electric Vindaloo (2001)

If that cover alone doesn’t make you want to buy this album, I’m not sure what will.

Bombay 2: Electric Vindaloo is the sequel to the wild, weird, and wonderful Bombay the Hard Way: Guns, Cars and Sitars collection. Both feature Bollywood film music by the composer duo of Kalyanji Virji Shah and Anandji Virji Shah and remixed by multiple DJs and producers. The first collection featured 1970s James Bond-riffing film music and Bombay 2: Electric Vindaloo focuses on Bollywood in the 1980s, with all the glitz, glamour, and garishness of that decade. Imagine Miami Vice filmed in New Delhi and you’ll get the idea.

Urusula 1000‘s “Ram Balram” would fit into any techno set even today. DJ Me DJ You‘s “Bionic Kahaan” is layered with weird, warped sounds of calling geese, horror movie film synths, strange vocal samples, and gloopy, oozy bass. “Theme from Twin Sheiks” is a delightful minute and eight seconds of Bollywood bliss.

Kid Koala and Dynomite D‘s “Third World Lover” is a grand mix of sweeping strings, traditional Indian instruments, and hip hop beats. “Rah-Keet” has this cool mix of synthwave and stuff that sounds like opening credits music you’d hear on an obscure VHS tape you found at a Goodwill store. Mixmaster Mike‘s “Hydrolik Carpet Ride” features his trademark turntablism that will leave you dumbfounded. “Bollywood B-Boy Battle” is as intense and fun as you hope it will be.

DJ Me DJ You return for “Mr. Natwarlal,” which has great dub bass and synth effects in it to further confound your brain. Dynomite D then returns for “Basmati Beatdown” – a track that almost sounds like it’s playing backwards and somehow keeps a wicked groove throughout it. “T.J. Hookah” is ready for action (or video games, your choice). DJ Me DJ You takes us on a third trip with the horn and turntable-led “Disco Raj.”

“Sexy Mother Fakir” drifts into Spic-Beatz and Pak-Man‘s “Inspector Jay’s Big Score,” which is practically space age bachelor pad music and practically gives you an entire spy film’s plot in under six minutes. Steinkski‘s scratch-a-licious “Electric Vindaloo” is a stunning display of his skill on the decks.

“Dil Street Blues” is a fun riff on the famous Hill Street Blues theme, and I love how the album ends with an almost traditional-sounding track, “Chakra Khan,” complete with male-female duo vocals but fat disco bass and swanky horns added to the mix.

I don’t know if a third collection of this stuff will ever appear, but I hope so. Everyone needs more stuff like this. Something might be wrong with you if you don’t find at least a bit of enjoyment out of it.

Keep your mind open.

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Review: Sextile – yes, please.

Sextile’s new album, yes, please. is a floor-filling, club-shaking banger that encourages us to embrace life and not let the bastards get us down. It’s a record that skewers misogyny, politics in general, the United States’ health care and education systems, and the music industry…all while giving you a rave freak-out.

After the early 2000s video game opening credits-like “Intro,” we’re let in on the not-so-secret information that “Women Respond to Bass,” with Melissa Scaduto and Brady Keehn instantly making you sweat within the first throbbing bass riff. This song will make you want to turn your lights on and off at rapid pace to simulate a strobe light if you don’t already have one within arm’s reach. Keehn takes over lead vocals on “Freak Eyes,” in which he sings about the pressure of making the album just as good, if not better, than the last, and to make it now (“I’m trying to get my shit together. People say I should be working faster.”). The warped sounds are probably reflective of how his brain felt at the time.

“Penny Rose” delves into what schools and education will become in the near-future thanks to AI and carefully chosen subject matter. Hip hop artists everywhere will want to steal the beats and bass on this. “Push Ups,” with guest vocals from Jehnny Beth, builds and builds until your workout becomes a mid-1990s aerobic VHS tape played in fast-forward. Speaking of fast-forward, wait until you hear the bass on “Kids,” which seems to be going faster than anything else on the album. It’s pure trance music that will lift you off the floor (and listen for the additional vocals by Izzy Glaudini of Automatic).

“99 Bongos” is a fun one, with the titular drums slapping down sick beats while synths never seem to stop rising around them and someone tells a tale of tripping on acid and taking a road trip they were lucky to survive. “S is For” has Scaduto spitting a sexy tongue-twister that is probably being played in S&M clubs even now. “Rearrange” calls out how many things have been changed for everyone, and not for the better for most of us. Scaduto’s vocals sound like they’re coming through a staticky radio tuned to a pirate channel. Its sister song, “Resist,” calls / yells for women to fight for their reproductive and health rights. The pulsating bass on it is fuel for action.

“Is this it? Is there something I’m missin’?” Keehn sings on “Kiss.” He’s wondering what the hell happened around here, how did he end up in the middle of it, and what does he do now? Apparently, you dance until you’re a sweaty mess because the last half of the track is a full-on industrial ripper.

If you’re wondering why so much of this album is about calls to action and to embrace life and, let’s face it, pleasure, part of it is because Scaduto spent a good chunk of time before this album was recorded in a New York nursing home after an accident that almost caused the loss of a leg. “Hospital” and “Soggy Newports” detail the experience, with “Hospital” being the wild synth-wave dance cut about her trying to figure out why health care is such a damn mess, and “Soggy Newports” being the low-key song about how health care can be so damn depressing (“Please get me out of here, because I’m going out of my head.”).

If you’re looking for a hot dance record, look no further. If you’re looking for a sexy record, look no further. If you’re looking for a boring record, look elsewhere.

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