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:
75. Pixel Grip – “Stamina”
If this track isn’t playing at your next kink event, fire the DJ. “Stamina” is an absolutely ridonculous banger that works because Pixel Grip’s Rita Lukea has the charisma and full-throttle scream to pull off something this filthy. This is, after all, the same band that gave us 2021’s “Alphapussy.” The breakneck speed of “Stamina” matches the naughty intensity of its lyrics, which frankly get a little repetitive. But if you write a line like “Daddy come over / fuck me over and over,” you may as well make the most of it.
74. Run Level Zero – “We Are Strong”
Sweden is a great source of classic synthpop, but its contributions to electro-industrial are rarer—Run Level Zero being a notable exception. “We Are Strong,” the highlight of their A Strange New Pain album, conveys a timely message of personal resilience to post-COVID society. Its layered electronics belong to the same sonic terrain as Front Line Assembly, while the sizzling vocals align it with the melodic synthpop traditions of their Swedish peers.
73. LEATHERS – “Crash”
LEATHERS, the solo project of ACTORS keyboardist Shannon Hemmet, released her long-awaited debut album, Ultraviolet, in 2024. Her solo work takes her glossy synths and hypnotic vocals into dreampop territory reminiscent of Chromatics and Cocteau Twins. The album’s final pre-release single, “Crash,” is no exception. While the lyrics don’t explicitly mention it, I suspect “Crash” draws inspiration from J.G. Ballard—the track exudes a similar fascination with dark mystery.
72. She Hates Emotions feat. Marc Massive – “Lowest of the Low”
Two icons of the dark scene. Two beautiful voices. One incredible song. Marc Massive makes his second appearance on this countdown, this time as a featured guest on “Lowest of the Low,” a duet with Chris Pohl. Together, they sing about reaching your breaking point over glittering synths that radiate the vintage aura central to the Blutengel frontman’s She Hates Emotions project.
71. iamnoone – “This Is Forever”
Italian darkwave act iamnoone craft grandiose sentiment on “This Is Forever,” blending bubbling synths with a perky rhythm that makes me want to dance. The song falls heavily into the joyful part of their Joy of Sorrow LP with hooky lyrics like “I want to stay like this forever.” It’s an uplifting track about savoring the moments you never want to end, a perfect balance of introspection and euphoria.
70. Black Asteroid feat. ACTORS – “Ashes and Dust”
Black Asteroid makes genre-busting music that incorporates elements of techno, industrial, darkwave, and more. On the explosive track “Ashes and Dust,” ACTORS frontman Jason Corbett contributes a verse-chorus-verse structure, but the real thrill comes from hearing him crash through multi-tracked layers of his voice singing, “You feed me ashes and dust.” Meanwhile, Bryan Black’s relentless kickdrum keeps the pace pounding through a dense wall of sound.
69. Lights of Euphoria – “Surrender”
German duo Lights of Euphoria are in the midst of a late-career comeback with thrilling, polished songs like last year’s “Euphoric Light.” The momentum continues with this year’s “Surrender,” which finds them wading into electropop territory more than ever before. Its gorgeous piano melodies combine with thudding synths to create an incredibly enticing tune.
68. Faderhead feat. Neuroticfish – “Die for This”
Faderhead spent 2024 releasing one song each month, a trend that’s taken off in the post-album era. As with his broader discography, not every track hits with me. But when he turns his mind to heavier topics, like the personal anguish he explores on “Die for This,” I am fully on board. It helps that one of my favorite artists, Sascha Klein of Neuroticfish, provides a potent guest vocal that elevates the song’s emotional weight.
67. Wingtips feat. Tim Cappello – “The Verdict”
One of the most intriguing collaborations on this countdown finds Chicago synthpop duo Wingtips enlisting ’80s icon Tim Cappello—the legendary Lost Boys saxophonist. (Fun fact: I saw Cappello live on Tina Turner’s Private Dancer tour, my very first concert.) “The Verdict” is a delightful ode to seizing the moment, with Hannah Avalon’s reverb-soaked vocals bearing an edgy, androgynous quality. Wingtips make the most of Cappello’s presence, spotlighting him with multiple sax solos that give “The Verdict” unmistakable retro charm.
66. Color Theory – “Thoughts Can’t Hurt You”
There’s a lot going on in this Color Theory song. Bruh-bruh-bruh pads. High-pitched swirls. Vocals echoing in the distance. Quieter moments of introspection. Arpeggiated breakdowns. It could be an indulgent mess, but Color Theory assemble “Thoughts Can’t Hurt You” with captivating skill and dynamic craftsmanship. Its thundering pads feel like armor against intrusive thoughts, as if the music itself is working to shut them out.
65. Plastic Estate – “Anymore”
Let’s chill out for a moment. Welsh duo Plastic Estate belong to the modern indie-synthpop movement that includes artists like Small Black, Neon Indian, and Choir Boy. On the dreamy “Anymore,” they lean into the softer side of synthpop, turning down the tempo and achieving an entrancing state of bliss. It may not have the urgency of the energetic dance tracks that surround it on this countdown, but it offers a breezy accompaniment.
64. Cold Connection – “Voices of the Night”
Let’s check in with Cold Connection, the Swedish synthpop duo whose monumental debut earned my picks for both Best New Artist and Best Album of 2021. Since then, they’ve shared a handful of new songs, including this gem. On “Voices of the Night,” Cold Connection cap their mechanical beats with ringing bells, whooshing winds, and synth lasers for a sinister sound that’s even darker than their debut.
63. CUT_ – “Lick Your Face”
It’s two songs in one. The confusingly named CUT_ (I think it’s pronounced “cut underscore”) merge what feels like two distinct tracks into a cohesive whole. The lush and atmospheric first part of “Lick Your Face” offers a foreboding quality that evokes the mood of Fever Ray’s mysterious debut. Then, part two bursts in with a bright, crashing chorus. These two contrasting segments play tug-of-war across the length of the song, creating a dizzying yet dazzling effect.
62. Sacred Skin – “Call It Off”
The classic sounds of Los Angeles-based project Sacred Skin recall a wide array of ’80s legends—Duran Duran, New Order, even Kenny Loggins. That broad reach gives their sound an epic scope that retains cult-like charm. Not easy to pull off. Born in Fire, their sophomore full-length, is packed with dramatic highlights, making it tough to pick a favorite. “Call It Off” stands out for its spine-tingling keys and the tantalizing background vocals from supporting player Vanessa Robinson.
61. Italoconnection – “The Wait”
Italian maestros Italoconnection deliver shimmering joy with “The Wait,” merging the retro sounds of Italo disco with modern sheen. Bubbling electronic arpeggios and Harold Faltermeyer-style synth riffs topple all over one another, creating an intense dazzle. Fred Ventura’s rich timbre projects uplifting lines like “Just listen to your heart.” The track doesn’t necessarily rely on hooks, but it doesn’t need to because those blissed out synths are the true star.
60. Blackbook – “Beautiful Lies”
“Beautiful Lies” is not your typical Blackbook song. The Swiss duo excel in massive, anthemic bangers with clever lyrics that subvert listeners’ expectations. They turn down the tempo and amp up the sentimentality for “Beautiful Lies,” which revels in ’80s melancholy. There’s even a sax solo for maximum nostalgia. Inject this shit right in my veins.
59. Pet Shop Boys – “New London Boy”
The autobiographical nature of Neil Tennant’s songwriting makes it easy to piece together a narrative of his life. “New London Boy” falls somewhere in between the Catholic school upbringing of “It’s a Sin” and the bittersweet reflections of “Being Boring.” Over lush string arrangements and a shuffling beat, he unravels his arrival in the big city, a Bowie-obsessed gay man eager to find himself. There’s even a rap-like interlude reminiscent of “West End Girls.” It may not match the trailblazing spirit of their iconic hits, but “New London Boy” earns its place in the pantheon of queer songcraft.
58. Solar Fake – “Nothing’s Wrong”
The most aggressive track on Solar Fake’s Don’t Push This Button! album, “Nothing’s Wrong” thrives on chaotic energy. Pummeling drum pads and Sven Friedrich’s fast-talk rhythm give the song a frenetic edge that sets it apart from the rest of the record. It was always my favorite song from the album, but its avoidance-themed lyrics take on poignant new resonance in the wake of the 2024 presidential election: “Let’s just close our eyes and pretend there’s nothing wrong.”
57. MORE – “Shotgun to the Head”
I don’t know what got into MORE. They’re typically nice fellas who cover Bob Dylan and make synthpop songs about snowflakes. “Shotgun to the Head,” a thrilling departure in the very best ways, finds the Swedish trio wading deep into darker subject matter. It’s built on a magnificent rubberband bassline that gives the song undeniable groove. At one point, there’s even a startling shotgun blast. Guys, I hope everything is ok.
56. Dead Lights feat. Marc Massive – “When the Lights Come Down”
At this point in the countdown, it’s clear that Marc Massive is the magic ingredient in a dark synthpop tune. The Massive Ego frontman makes his third appearance, this time as the featured guest on a Dead Lights anthem. “When the Lights Go Down” is a twisted throbber about the perils of fame. Marc’s vocals seamlessly combine with the duo’s sinister boom, making him a formidable complement to their glamgoth palette.
55. E:Lect – “Secrets”
Swedish duo E:Lect fool you into thinking “Secrets” is going to be a soft, mid-tempo number with a tranquil piano melody and soothing vocals. But then the beat kicks into high gear, and the song transforms into a sophisticated synthpop jam. Its memorable chorus—“This moment, the secrets / Is this the moment you’ve been waiting for?”—is pure e:lect, delivering a nice mix of energy and elegance.
54. Tobias Bernstrup – “And The Smile”
Italo disco is back in a big way, but Swedish performance artist Tobias Bernstrup has been carrying the torch for two decades. He’s in fine form on “And The Smile,” the third single from his next album, which I hope we’ll see in 2025. The track features those plinking keyboard melodies that define classic Italo, but Bernstrup washes them in echoey reverb that gives the song a decadent synthwave edge.
53. Dancing Plague – “Shadow Self”
Look, this isn’t for everyone. My husband hates it. Dancing Plague’s ballsy, in-your-face-and-bellowing vocals can be too intense for some, but I love ’em. On songs like “Shadow Self,” he knows how to make larger-than-life hooks out of lines like “You made your bed / You made your bed, now lay in it.” The abrasive style of Conor Knowles’s gravelly baritone contrasts beautifully with sparkly synths, which turns this track into a dancepop anthem that’s as confrontational as it is captivating.
52. The Brides of the Black Room – “One Flash of Light”
We finally have our first taste of the next Brides of the Black Room album. The Swedish enigmas will release their second album, Commander, in 2025. First single “One Flash of Light” is a moody and dramatic setpiece that suggests we’re in for something special. Its haunting melodies and Lea Alazam’s sultry vocal lend it cinematic majesty, as if this song could soundtrack a James Bond flick.
51. Profit Prison – “Katalina”
When I listen to music, my favorite songs are the ones that feel transportive, that make me wanna close my eyes and drift off to far-away places. Seattle band Profit Prison achieves that on “Katalina” with enormous amounts of reverb slathered all over the keys and vocals, which give it a stunning, otherworldly quality. The words themselves are almost beside the point, but Parker Lautenschlager provides an aching delivery of lines like “we never found what we were searching for.”
