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:
50. Ultra Sunn – “Some Ghosts Could Follow”
Belgium’s rich history of electronic music, from the throbbing sounds of New Beat to the groundbreaking energy of Front 242, echoes in the work of Ultra Sunn. “Some Ghosts Could Follow” channels that legacy into a meticulously polished banger that fuses the relentless drive of New Beat, the melodic allure of synthpop, and the brooding introspection of darkwave. Sam Huge’s infectious lower-register vocals glide over Gaelle Souflet’s mesmerizing keys, creating a track that feels both timeless and thoroughly modern.
49. BlakLight – “Blind Vision”
California trio BlakLight offer a tantalizing preview of their next album with its first single, “Blind Vision,” also their first release since adding Vain Machine’s Omar Quiñones to their ranks. Omar’s harmonies complement frontman Brian Belknap’s emotive lead vocals, adding depth and richness to their sound. Adam Collier’s bubbling production keeps the track lively with nice shifts in arrangement. My favorite moment comes when the beat drops out to allow the pre-chorus to shine with raw vulnerability: “Every now and then I get this feeling that I’m falling apart.”
48. Blutengel feat. Solar Fake – “Nothing Left”
The year of team-ups left no crumbs. We’ve already seen Blutengel’s Chris Pohl enlist Marc Massive for a song from his She Hates Emotions project. Now for his primary project, he’s joined by Solar Fake’s Sven Friedrich, another dream team of dark music icons. “Nothing Left,” a song about reaching your breaking point, finds them trading lines over a volatile synth riff, then coming together for a lovely harmony in the chorus. They’re both legends of the dark scene—together though, this is another level.
47. Poison Point – “Mysteries in Fire”
French artist Poison Point conjures sinister atmosphere out of “Mysteries in Fire,” fusing lush synth arrangements and unrelenting beats into a maelstrom of competing melodies that invoke a hypnotic, trance-like state. Timothée Gainet’s reverb-soaked vocals add to the intrigue—the lyrics are mostly indecipherable except for a few evocative lines about “lambs” and “beasts” that seep out of the mix.
46. TR/ST – “Regret”
TR/ST take their time getting to the heart of “Regret,” spending a full 90 seconds setting the mood with dense electronics and an arpeggiated synth riff that recalls The Knife’s highly influential “Silent Shout.” When Robert Alfons’ distinctive marbly vocals arrive, he’s more understated than usual, yet the lyrics remain as indecipherable as ever—warbling something about “your happiness.” As always, the meaning hardly matters, but it captures the chaos of messy emotions with remarkable turbulence.
45. The Russian White – “We Disappear”
Pennsylvania’s The Russian White trade in growly, aggressive industrial that inspires fun Bandcamp tags like “deathwave” and “murderwave.” Their rowdy style often leans on heavily distorted, screamy vocals, but “We Disappear” takes a more melodic turn. Built on a funkified beat that throbs beneath smashing hi-hats, the track approaches genuine synthpop territory with a catchy chorus and less-distorted vocals. It’s an unexpected delight from a band with a diverse sound palette.
44. EMMON – “No Man’s Land”
In 2024, Swedish electro queen EMMON released her XCEPTION EP, a collection of gritty, blippy dark electro tracks that includes fan favorites like “Dark” and “Devil’s On Your Back.” My favorite song from the set, though, is “No Man’s Land,” which showcases a more resonant vocal delivery and a progressive, driving momentum created by knob-twisting pulses that constantly change frequency.
43. Ashbury Heights – “Sleeping With a Knife”
Anders Hagström has a rare gift for wringing unexpected melody out of oddball lyrics. See Ashbury Heights’ biggest hit, “Smaller.” Yet it remains a delight to hear him make something so intoxicating out of words like, “I never managed to become an alcoholic even though I tried and I tried.” “Sleeping With a Knife,” a deep cut from their long-awaited Ghost House Sessions, exudes raw vigor with a progressive beat that feels like it’s accelerating. His vocals emerge from the soundmix with a muffled intensity that makes him sound apathetic. At one point, he actually croons, “I’m just so bored with being cool.” Let’s be honest—he’s cool enough to pull that off.
42. Ghost Cop – “Problems”
“Problems” showcases Ghost Cop’s signature style of cinematic tension and haunting intrigue. Its driving kickdrum beat and a tinkly little tip-toeing synth chord create an air of mystery, as if a serial killer is sneaking up behind you. The lyrics explore themes of self-doubt and strained relationships—Lucy Swope delivers lines like “You said I’ve got too many problems / Well that’s a problem” in a way that feels introspective and confrontational. It’s a compelling example of the duo’s knack for crafting music that’s as unsettling as it is alluring.
41. Propter Hoc – “Imagineers in the Exclusion Zone”
Scottish act Propter Hoc prime listeners for their forthcoming 2025 album with the single “Imagineers in the Exclusion Zone.” The track delivers a thunk-thunk-thunk beat, hammering percussion, and J.A. Harrington’s commanding vocals. Its lyrics about “imagineers” remain mostly a mystery to me, but analog factory sounds, rattling tin sheets, and a magnificent starburst effect radiate old-school industrial charm.
40. Black Nail Cabaret – “Teach Me How to Techno”
When “Teach Me How to Techno” arrived on YouTube, some doofus inevitably grumbled, “This ain’t techno.” No duh. It’s important to note that Hungarian duo Black Nail Cabaret use “techno” here as a verb—as in achieving a euphoric state via mind-enhancing music and unrestrained dance. Composer Krisztian Arvai churns dark, echoey beats and buzzsaw electronics into a cavernous sonic playground. Meanwhile, Emese Arvai-Illes delivers athletic, commanding vocals that remind listeners she’s one of the best singers in the dark music scene. No, it’s not techno—but it is electrifying.
39. Super Dragon Punch – “Gloom”
Super Dragon Punch!! open “Gloom” with a rousing synth arrangement that feels celebratory, as if it could herald some major event. The multi-tracked vocals only add to the uproar, creating a startling contrast to the song’s lyrical content, which revels in industrial platitudes like “darkest place” and “shattered hopes.” “Gloom” is an anthemic fusion of high-energy industrial and euphoric futurepop, making it a standout from the Belgian industrial group’s Thorns album.
38. Houses of Heaven – “Within/Without”
“Within/Without,” the title track from California project Houses of Heaven’s latest album, takes inspiration from a Thatcher quote about fighting within and outside of ourselves, which infuses the song with a Cold War menace that complements its coldwave sound. Metallic tones dominate the production, with clanking factory sounds, rattling tin sheets, and unsettling synth chords over a shattering drum pattern. The muddy, shoegaze-style vocals and invigorating rhythm invite uproarious dancing amidst its dark, industrial atmosphere.
37. Beyond Border – “Let’s Just Live”
Germany’s Beyond Border make the sort of life-affirming synthpop anthems I can’t get enough of. I named their song “What Makes the World Go Round” my number one song of 2021. “Let’s Just Live,” the highlight of their Gathering LP, is another celebratory moment packed with elegant synths, thick beats, and poignant lyrics. Michael Deiters’ lush melodies and Kai Vincenz Németh’s thoughtful verses encourage listeners to focus on what truly matters in life. There’s also a DMX remix of this song that adds echoey reverb to make the song even more anthemic.
36. Priest – “Demon’s Call”
Sweden’s formidable Priest dive headfirst into New Wave nostalgia with “Demon’s Call,” a joyous confection of pure synthpop that stands out on their fourth album, Dark Pulse. Amid the album’s harder-hitting dance tracks, “Demon’s Call” offers a smoother, mid-tempo sound that showcases Priest’s strong vocals and pulsating synths. The chorus of “ohhhh-oh-ohhhh” is irresistibly ’80s and irresistibly catchy. It’s among the best songs Priest has produced yet.
35. Project Pitchfork – “Unity”
“It’s not just a phase, Mom” has become a playful rallying cry for lifetime devotees of the dark music scene. So it’s terribly clever of Project Pitchfork’s Peter Spilles to upend that sentiment, singing, “Don’t worry, Mom, it’s just a phase.” “Unity” is ultimately his love letter to the dark community—Spilles’ cavernous vocals celebrate “the love of my life” over a club-friendly beat. Aggressive and heartfelt, “Unity” blends Pitchfork’s signature intensity with an unexpectedly tender homage.
34. Helix – “Unimaginable Place”
The dynamic duo of Tom Shear and Mari Kattman create music as their individual projects and as guests of numerous other artists. Working together as Helix, they’ve carved out a nice niche doing solemn synthpop that showcases Mari’s lovely vocals. “Unimaginable Place” zips along with breezy momentum and buoyant flourishes of electronics to deliver an uncompromising melancholic spirit. It is the best Helix song yet.
33. Future Lied to Us – “Code”
Up until “Code,” the synthpop supergroup Future Lied to Us made lovely, traditional synthpop tunes, first with vocals from SITD’s Tom Lesczenski, then former Mondträume singer Damasius Venys. “Code” upends the formula. Spoken word bits about “binaries intertwining” and “dreams of light,” peak-hour rave breakdowns, and generous dollops of piano all collide into a tapestry of bridled chaos. It’s a spectacular marvel.
32. Pale Meridians – “Solitary Heart”
Pale Meridians is a new group I’ve had my eye on since they released an out-of-the-box cover of the KISS classic, “I Was Made for Loving You.” They’ve since unveiled a couple of songs, including this re-recording of an earlier track. The international trio gives “Solitary Heart” a fresh coat of paint that reflects their evolving sound. It’s a catchy and classy teaser for their debut album, which can’t arrive soon enough.
31. Implant – “Responsible”
In 2024, Belgian group Implant released the first two parts of a trilogy they call The Chaos Machine that explores the assault of machines on our planet. It’s a heady brew of post-industrial sounds—bits of EBM, distorty vocals from electro, even touches of ambient. The most memorable track by far is “Responsible,” which leans into trad synthpop with strong melodies and clear vocals. Over a head-bopping beat, Implant deliver crucial commentary on climate change: “And slowly as our hope fades out / there is no doubt / we’re heading for the void.” Who’s responsible for this mess? We are, of course.
30. Vogon Poetry & SCALA – “Hope of Heading Home”
Vogon Poetry draw inspiration from the vast world of science fiction—their name, after all, comes from Hitchhiker’s Guide to the Galaxy. Collaborating with fellow Swedes SCALA, they craft an evocative synthpop ballad called “Hope of Heading Home” that uses emotive keyboard arrangements and heartfelt vocals to convey yearning. The song tells the story of a space explorer’s search for home, but its lyrics are just vague enough to resonate with any listener longing for home—striking a similar vein as VNV Nation’s “Homeward.” It’s the Vogon’s best track since 2015’s “Spit It Out.”
29. Frozen Plasma & Rotersand – “Mayhem”
Two titans of the German dark scene, Frozen Plasma and Rotersand, joined forces this year for concerts they call Electromaniax that feature duets, mashups, and special guests. The collaboration also produced a single track (so far). “Mayhem” is a quintessential futurepop anthem built on trance melodies and uplifting lyrics. Rascal’s unmistakable quaver takes lead, then Felix Marc joins for a soaring chorus. Among my favorite music moments of the year, the beat pauses about midway through, a delicate piano chord lilts in, then the track soars into a cascade of electronic patter. It’s a deeply affecting moment that showcases the magic of this powerhouse pairing.
28. Hearts of Black Science – “Field of Light”
I’ve been anxiously awaiting the next Hearts of Black Science album since their 2020 one-off “Servant” reacquainted me with the band and topped my list of the year’s best songs. The Swedish duo do epic songcraft like no one else, and “Field of Light,” another standalone track from a Progress Productions comp, is no exception. They construct an ethereal atmosphere out of hazy electronics and martial drums, then Daniel Änghede’s tranquil vocals burst through the veil. Everything about this song feels enormous. I can’t wait for more.
27. KLACK – “Weight of the World”
Wisconsin’s finest purveyors of New Beat, KLACK released a mini-album called Modern Production that combines body music and synthpop into something uniquely their own. The set’s most synthpop track, “Weight of the World,” strikes a balance between memorable melodies and industrial underpinnings. Lead vocalist Eric Oehler delivers a captivating performance—I really like the juxtaposition of “It’s the weight of the world / It’s the way of the world.” Thumping beats, shimmering chimes, and enticing media samples keep the track rooted in KLACK’s New Beat ethos.
26. Trent Reznor & Atticus Ross – “Compress / Repress”
These days, Nine Inch Nails are better known for their award-winning film scores as Trent Reznor & Atticus Ross, which usually take the form of moody instrumentals to heighten the drama on-screen. Their score for the tennis flick Challengers includes a surprise vocal piece with lyrics penned by the film’s director, Luca Guadagnino. “Compress / Repress” features strapping beats that feel more akin to the industrial pop of Pretty Hate Machine than the fuzzed-out guitars of their later work. It’s the best NIN song in twenty years.
