Welcome to Synthpop Fanatic’s annual countdown of the best songs in synthpop, darkwave, futurepop, and adjacent genres. If you’re a regular reader of this blog, you already know I take a broad view of synthpop—because genre definitions are ultimately meaningless and only good for taxonomy. What truly matters is the music. I love music made with synths, and I love it dark.
2024 has been an amazing year for synthpop. The year was stacked with unforgettable songs from legendary icons of the genre to rising newcomers in the dark music scene. It was also a year dominated by collaborations—a key ingredient of the streaming era—and you’ll see a lot of collabs among my list.
For the sixth year running, I’m thrilled to present my 100 favorite songs of the year. As always, I include each artist only once on the list to spread the love.
The complete list:
25. A Flock of Seagulls – “Some Dreams”
In 2024, the New Wave struck back. Several legendary acts returned this year with new music—some for the first time in decades—and, surprise, the best of the bunch comes from the guys with the doofy haircuts. A Flock of Seagulls frontman Mike Score may be bald now, but he still sounds fantastic. The ’80s icons behind “I Ran” dropped a banger called “Some Dreams” that revives their signature guitar-and-synth sound for the modern era. The lyrics—little more than the phrase “some dreams”—get a tad repetitive, but the track’s infectious energy makes it an absolute blast.
24. The Flower Cartel – “My Cyanide”
Denmark’s The Flower Cartel, the solo project of multi-instrumentalist Jens Holmboe, is among the year’s best new synthpop acts. “My Cyanide” conjures a dense motley of gloom out of layers of thrilling loops, including a high-pitched arpeggio that emerges from the fog—and sounds suspiciously like a sample from ABBA’s “Gimme! Gimme! Gimme! (A Man After Midnight),” which lends the track an air of familiarity. Holmboe’s mood and cryptic lyrics—“Fool me feel me / I want to clock the moon”—evoke the mystery and chaos of TR/ST.
23. White Noise TV – “Deep Waters”
White Noise TV counts VNV Nation among their influences but leans into the slower tempos and solemn tones reminiscent of the futurepop heroes’ earlier material. “Deep Waters” offers a thick, brooding bassline and a deliberate tempo that recall VNV tracks like “Further” and “Forsaken”—a song White Noise TV has even covered. The production builds out of dark trance soundscapes, with pulsing bass and introspective lyrics that wouldn’t feel out of place in a Ronan Harris composition: “Far away from shores, deep waters, you are seeking for the ground.”
22. Die Sexual – “Lights Down Low”
California duo Die Sexual are carving out a niche with their BDSM-tinged brand of dark, hard-hitting bangers. “Lights Down Low” crackles with crunchy beats, wicked riffs, and hypercharged sexuality that earns its place on any kink party playlist alongside bands like Night Club, Spike Hellis, and Pixel Grip. Lyrics like “Don’t move too fast / gotta make that shit last” share thematic DNA with Pixel Grip’s “Stamina” (previously featured in this countdown), though Die Sexual bring a touch more subtlety to the table.
21. CHROM – “Paralysed”
I didn’t make it out to many club nights this year, but on one of the rare occasions I did, the DJ dropped CHROM’s “Paralysed,” and the dancefloor erupted. Returning from a lengthy hiatus, the German act proves that futurepop is alive and kicking with this quintessential club anthem. Built on thundering beats, atmospheric media samples, and Christian Marquis’s inviting vocals—which sound as good as they did a decade ago—“Paralysed” delivers everything I love about melodic-electro music.
20. Cold Cave – “She Reigns Down”
California darkwavers Cold Cave took an unexpectedly maudlin turn on their last album, Fate in Seven Lessons, a celebration of frontman Wesley Eisold’s family. Their 2024 single “She Reigns Down” marks a return to shadowy territory, with Eisold’s voice plunging into cavernous darkness and echoing from the void. Like many of Cold Cave’s best tracks, “She Reigns Down” carries the epic gravitas of a Sisters of Mercy anthem—one of their key influences—while remaining undeniably their own.
19. CZARINA – “Exesekeleto”
CZARINA builds on the momentum of Arcana, my top album of 2022, with “Exoskeleto,” a bombastic biomechanical fantasy that kicked off her third album cycle. This time, she launches her operatic vocals and kaleidoscopic production techniques right into outer space, crafting an electro rocker that feels innovative and immense. The song’s lyrics find CZARINA summoning extraterrestrial armor to protect against trauma, but it’s the bridge that goes straight for the jugular, delivering her defining otherworldly chants with dramatic power.
18. Aiboforcen – “Everything”
An anthem for co-parenting is not a topic I ever expected to hear in the dark electro arena. Belgium’s Aiboforcen delivers just that with “Everything,” a powerful track that explores a fractured relationship that nonetheless yielded a “little wonder.” Trading vocals between male and female voices, the song’s dynamic arrangement crafts sonic tension out of pouncing beats and shimmering electronics. It’s electrifying yet emotionally resonant, a rare and welcome blend of poignant storytelling and dancefloor energy.
17. Logic & Olivia – “I Wish”
German electropop outfit Logic & Olivia delivered one of the year’s most quietly intoxicating tracks with “I Wish.” Its thumping bass and tender, emotive keys create a moody atmosphere that perfectly complements the rich vocals and wistful lyrics of longing. “I Wish” is a solemn but seductive lament that crept up on me over the year, eventually becoming a full-blown obsession.
16. PART2 – “Feels Like Home”
Swedish trio PART2 has quietly established themselves as one of modern synthpop’s most underrated gems, consistently crafting elegant and memorable tunes. “Feels Like Home” is built on twinkling synth chords and understated, tender vocals, though the soaring, life-affirming chorus gives it a strong hook: “And tonight / everything’s gonna be alright.” With its heartfelt charm and captivating melodies, “Feels Like Home” is an irresistible piece of sentimental synthpop.
15. Allie X – “Weird World”
“I used to be a dream girl / But the world interfered / At least now I know why / Now I know I’m weird.” The chorus of “Weird World” may as well be a mission statement for Allie X, the quirky, boundary-pushing Canadian pop artist who balances a tightrope between indie pop icon and avant-garde weirdo. Drawing heavily from ’80s classics but infused with modern dance pop energy, “Weird World” juxtaposes vibrant synth blasts and melodious euphoria with sharply contrasting moments—she sings several lines in German. At one point, she declares, “Hail Satan.”
14. Vintage Voltage – “I Hate to Love You”
Another newcomer to the dark synthpop scene, Vintage Voltage is quickly building a rep for elegant, melancholic tunes—and also a bit of intrigue. Using the pseudonyms Chris Leaf and Pete Branch, the duo claims veteran status in the scene, but their actual identities remain unknown. None of that would matter without great music, and “I Hate to Love You” is a wonderfully catchy, sentimental gem with dynamic production. The track blossoms from an dirgey intro into a grandiose mid-tempo number with turmoil-laden lyrics built upon the wonderfully oxymoronic power of “hate to love you.”
13. Male Tears feat. Digital Love – “This Party Ends in Tears”
Does anyone remember Shannon, the ’80s freestyle legend known for songs like “Give Me Tonight” and “Let the Music Play”? I didn’t expect to cite ’80s freestyle, but Male Tears draw upon the unexpected influence with “This Party Ends in Tears.” The California act conjures the nostalgic joy of freestyle party anthems with buoyant synth riffs, clashing hi-hats, and a funky staccato motif. James Edwards heightens the mode with melodramatic vocals: “When this party is over it will all end in tears.” It’s a bright, infectious throwback that feels like pure ’80s joy.
12. Urban Heat – “Right Time of Night”
When we caught Urban Heat’s thrilling live show in New Orleans, my husband bought a t-shirt from the band that says “Vampire Shit.” It’s sparked plenty of comments. The vampire shit in question refers to “Right Time of Night,” the band’s darkly intense track about a predator with fangs and a history of violence. The song edges into electro-industrial territory with frequency-numbing electronics, pounding industrial clanks, and Jonathan Horstmann’s throaty baritone. It’s a hard, shadowy piece that highlights my favorite side of the hot-as-hell Texas band.
11. Sleek Teeth – “Endless”
I named California duo Sleek Teeth the best new synthpop act of the year, and tracks like “Endless” make it clear why. This bleak song fuses the mechanical thump of EBM, the icy emotion of darkwave, and the irresistible melodies of synthpop. Its deep, enigmatic vocals amplify the track’s brooding atmosphere, while the chorus elevates the energy with a powerful hook. Exploring themes of existential dread with lines like “we can’t escape a cold life,” “Endless” showcases Sleek Teeth’s ability to merge mechanical precision with raw, emotional resonance.
10. MATTE BLVCK – “Vows”
California trio MATTE BLVCK have solidified their place as one of the best acts in the dark synthpop scene, thanks to commanding live performances and abrasive yet melodic rippers like “Vows.” The title track from their sophomore album builds on the haunting vibe of last year’s “Midnight & Angel” with seductive vocals that continue to nod to Depeche Mode. But they add a dynamic percussive drive that is the real highlight of their sound.
9. Video L’Eclipse – “Frozen Solid”
Swedish duo Video L’Eclipse conjure deep, dark mystery with “Frozen Solid,” an elegant piece of melodic electro-pop. Composer Robert Tingelöf layers the track with palpable synths, drums, and bass arpeggios, crafting a soundscape that feels both menacing and uplifting. Vocalist Jonas Peterson wields one of my favorite voices in music right now, delivering a rich, delectable performance that brings the song’s emotional weight to life. There’s even a spoken word bit that adds to the track’s ominous allure.
8. Optic – “Dead for Real”
Swedish duo Optic released a trio of stellar songs in early 2024, and any one of them belongs on this list. If they’d produced a full-length, it would have been a strong contender for album of the year. While I love the burning intensity of “In the Fire” and the foreboding drama of “Bad Times,” I gotta go with “Dead for Real” for its hypnotizing beat and trancy electronics, the kind that ignite darkwave dancefloors. Unforgettable lyrics like “I can still recall we used to feel connected” make it the kind of soaring synthpop anthem I devour—a sharp reminder that peak-era futurepop still has plenty to offer.
7. Kanka + Bodewell – “I Am the One”
Who knew a collaboration between two veteran EBM acts could result in some of the year’s finest electropop? Uwe Kanka of Armageddon Dildos and Martin Bodewell of Orange Sector join forces to craft a project that fuses clanking industrial beats with melodic allure. Last year’s explosive anthem “Believe” showcased their undeniable chemistry, and this year’s “I Am the One” matches that energy. Driven by a powerful EBM beat and punctuated by blasting synth riffs, the track pairs its infectious melodies with insanely catchy lyrics.
6. Sydney Valette – “Pharmakon”
French artist Sydney Valette opens “Pharmakon” with stuttering bleeps that explode into a maddeningly progressive beat full of savage energy. Cold, distant tones pierce the soundmix at seemingly random intervals, adding a layer of unpredictability to its relentless rhythm. A standout club banger from his The Healer LP, “Pharmakon” cements Valette’s reputation as one of the best beatmakers in the scene.
5. Normal Bias – “Falling Down”
Normal Bias, the duo of Matt Weiner (TWINS) and Chris Campion (Multiple Man), describe their sound as “industrial body funk,” and “Falling Down” lives up to that promise. The track packs a funky punch with a driving beat, but the true star is a massive, shimmering synth riff that slams through the mix like an electronic jackhammer. Matt Weiner’s charismatic vocal performance adds a melodic edge reminiscent of Depeche Mode’s Dave Gahan. It’s a song that imagines what DM might sound like if Alan Wilder remained at the helm and they kept partying with Nitzer Ebb.
4. Whorticulture – “Faust”
Colorado’s Whorticulture feels like they’re on the verge of blowing up, steadily building an audience with impressive singles like their cover of Tori Amos’ “Crucify.” “Faust” continues to raise the bar, threading gothic themes through a tapestry of sinister synth riffs and industrial soundscapes. A big-room anthem at its core, the track slices through heavy fog with growly vocals, ad-libbed yowls, and a haunting narrative about a deal with the devil. It’s a masterful blend of dark electronic dance music and mesmerizing atmosphere.
3. Kontravoid feat. Chelsey Crowley – “Losing Game”
The explosion of Nuovo Testamento since their 2021 debut has sparked an Italo renaissance in the global synthpop scene. The charismatic vocals of Chelsey Crowley play a large part in the band’s popularity. It’s no surprise to see her popping up as a guest vocalist, first with masked techno provocateur Kontravoid. Chelsey’s bubbly, majestic vocals vocals are actually a strong match for Kontravoid’s thumping melodies, creating a track that feels like a long-lost ’80s roller disco classic.
2. ACTORS – “In Real Life”
I distinctly remember the moment I fell in love with ACTORS, the post-punk quartet from Vancouver. “We Don’t Have to Dance,” an exquisite blast of ’80s nostalgia, poured from my speakers, and I danced around my kitchen with a spatula like I’d just unearthed a long-lost John Hughes soundtrack. Listening to “In Real Life” takes me back to the unbridled joy of that first listen. A showcase of Jason Corbett’s studio wizardry, he layers expertly crafted sounds into wistful passion. Churning guitars remain in the mix, but “In Real Life” ventures deeper into high-gloss synthpop than ever before, featuring dense, unique production—especially that mutant synth whistle that might be my favorite musical moment of the year.
1. Kite feat. feat Anna von Hausswolff and Henric de la Cour – “Losing”
Do you know what song you want playing at your funeral? I hadn’t given it much thought until I heard Kite’s lengthy, extraordinary lament about the power of loss. “Losing” starts with a single note, then Nicklas Stenemo’s distinctive vocal cooing “Are you there?”, and slowly builds as more voices and sounds arrive, toppling all over one another, culminating in a ferocious finale of Swedish chanteuse Anna von Hausswolff’s furious wailing. It is an epic triumph, one of the most moving songs I’ve heard. Play it loud—I want every guest weeping.
