Welcome to summer. It’s hot. Like brutally hot. Where I live, record-breaking temperatures have hit close to 100 degrees every day this week. But the heat index is the real killer—around 110 degrees when you factor in humidity. It’s just gross out. I’m staying inside and listening to music.
About this time every July, I sit inside by my air conditioner and assess the music that arrived in the first half of the year. It’s been a great one for synthpop music from new and established acts. And there’s still more to come, including albums from Kite, TR/ST, Ashbury Heights, and more. For a list of all the albums I’m anticipating, bookmark my 2024 release calendar.
I usually pick a stock photo to accompany this story, but I couldn’t think of anything clever. Then I realized that a number of folks have sent me photos of them wearing Synthpop Fanatic shirts in the wild. That’s Vidéo L’Eclipse on the left and Oliver from White Noise TV on the right. They’re both featured in the list below. In the middle, that’s my buddy DJ Kangal who hosts a goth/industrial night in New York. You can get your own Synthpop Fanatic shirt here.
Now, let’s get to the music. Here are my 25 favorite songs from the first half of 2024. These tracks are listed alphabetically by artists’ names because I’m not ready to commit to ranking them.
ACTORS – “In Real Life”
Vancouver’s ACTORS continue to captivate me with their evolving sound. “In Real Life,” their most synthpop song yet, seamlessly blends chugging post-punk guitars with glossy studio effects and an addictive synth whistle that punctuates the beat. It’s my favorite ACTORS track since “We Don’t Have to Dance.”
Aiboforcen – “Everything”
On this deep cut from Aiboforcen’s excellent Between Noise & Silence album, male and female voices trade verses about a failed relationship and the “little wonder” it produced. “Everything” features an incredible beat and big-room energy, but it’s the relatable storytelling that makes it so sublime.
Beyond Border – “Let’s Just Live (DMX RMX)”
I never do this. I never include remixes in these countdowns because I generally prefer original tracks, but the DMX remix of Beyond Border’s “Let’s Just Live” is just that good. The original song appears on the German band’s Gathering LP, and it’s a celebratory, life-affirming moment full of elegant synths and emotional lyrics. The DMX RMX—which I believe comes from producer Rob Dust—adds layers of echoey reverb that make the song feel even more anthemic.
BLACKBOOK – “Beautiful Lies”
Swiss duo BLACKBOOK has built a solid reputation for crafting synth bangers with clever lyrics. They’ve collected many of their recent singles on their sophomore album, Radio Strange. My favorite song from the set is a deep cut called “Beautiful Lies” that wanders beyond their club banger forte. It’s a charming, mid-tempo ballad that feels like a nostalgia trip to the ’80s. There’s even a delightful saxophone solo.
CZARINA – “Exoskeleto”
The enigmatic darkwave priestess CZARINA returned this year with a new song called “Exoskeleto,” her first original solo material since her groundbreaking album, Arcana. “Exoskeleto” fuses CZARINA’s menacing beats, rattling electronics, and signature chants with a mythological storyline. Extra points for ringing a proper melody out of a multi-syllabic word like “exoskeleto.” CZARINA pulls it off with ease.
Die Sexual – “Lights Down Low”
Los Angeles-based duo Die Sexual has quickly become one of the hottest new acts on the scene. Just listen to this track from their Inservio EP to see why. Sinister beat. Intoxicating synths. Seductive lyrics. “Lights Down Low” is a dungeon-club anthem dripping with energy and sensuality.
Frozen Plasma & Rotersand – “Mayhem”
Two beloved German bands, Frozen Plasma and Rotersand, joined forces this year for an exquisite single called “Mayhem.” This beautiful, soulful anthem radiates joy. One of my favorite musical moments of the year is when the beat stops around the 3-minute mark, the tempo slows, and bubbly keys flutter beneath Rascal’s vocals. Pure magic.
Helix – “Unimaginable Place”
Helix, the dynamic duo of Tom Shear and Mari Kattman, delivers a stunning synthpop anthem with “Unimaginable Place,” the title track from their February EP. Mari’s solo work of late has leaned toward aggressive sounds, but here she showcases her melodic side with gorgeous, effortless vocals. Combined with Tom’s expert programming, this track may just be the duo’s best work yet.
Dead Lights feat. Massive Ego – “When the Lights Come Down”
This is a team-up for the ages. The always glamorous Marc Massive of the recently resurrected Massive Ego joins glamgoth duo Dead Lights for an absolute banger called “When the Lights Come Down.” Set to Dead Lights’ booming electronics, the song’s lyrics offer a compelling exploration of the addiction to fame and its inevitable decline.
Kanka + Bodewell – “I Am the One”
Two veteran EBM artists worked together to produce some of the finest electropop of the year. Uwe Kanka of Armageddon Dildos and Martin Bodewell of Orange Sector collaborated on an album called Stroboscope that infuses clanking industrial beats with melodic charm. “I Am the One,” the album’s opening track, delivers the same unforgettable allure as last year’s pre-release single, “Believe.”
Kite feat. Anna von Hausswolff and Henric de la Cour – “Losing”
Swedish synthpop phenoms Kite give a masterclass in creating tension with a stunning build. “Losing” starts with a single piano note, then gracefully adds additional layers of sound and two more voices courtesy of fellow Swedes Henric de la Cour and Anna von Hausswolff. It eventually crescendos in a cacophony of Anna’s passionate wails and Kite’s glorious analog synths. “Losing” is among the most epic songs I’ve ever heard.
KLACK – “Weight of the World”
“Weight of the World,” one of several highlights from KLACK’s seven-track EP, Modern Production, finds the Wisconsin duo of Matt Fanale and Eric Oehler venturing deep into synthpop territory while maintaining their New Beat roots. Eric takes lead vocals on this one, and he delivers captivating lyrics that include some nice interplay between “it’s the weight of the world” and “it’s the way of the world.”
Kontravoid feat. Chelsey Crowley – “Losing Game”
Nuovo Testamento’s Chelsey Crowley wields one of the hottest voices in the scene right now. So it’s no surprise other acts are enlisting her for guest spots. On “Losing Game,” Kontravoid seamlessly combines Chelsey’s majestic vocals with his trademark techno-industrial beats. It’s a killer combo that sounds like an ’80s roller disco classic.
Male Tears – “Talk to Me”
California’s Male Tears released a handful of singles in the build-up to their fourth album, Paradísco. All of the songs we’ve heard so far embrace ’80s Italo and synthpop influences—from bands like OMD, Human League, and Dead or Alive—none more so than “Talk to Me.” This song is a delightful confection of keyboard melodies, captivating vocals, and pure ’80s joy.
MATTE BLVCK – “Vows”
California trio MATTE BLVCK has become one of the best new acts on the scene with a dark synthpop sound that’s heavily influenced by Depeche Mode. Their January single “Vows” builds upon the sinister vibe of previous single, “Midnight & Angel,” with strong percussion elements and lovely, compelling vocals. “Vows” is the title track from their forthcoming sophomore album.
Optic – “Dead for Real”
“Dead for Real” belongs to a trilogy of songs out this year from Swedish duo Optic, and all three tracks are phenomenal. Across the trilogy, Optic demonstrates a lot of variety with styles and tempos, but this one is the banger of the bunch. “Dead for Real” gets your body moving with an ecstatic blast of trancy electronics that could ignite darkwave dancefloors. I only wish there was a whole album coming from Optic.
Pale Meridians – “Solitary Heart”
International trio Pale Meridians is one of my favorite emerging acts on the scene for the way they blend traditional synthpop elements with undeniable melodies and a fantastic, charismatic voice. Latest single “Solitary Heart” showcases their refined sound, giving us a teaser for their debut album that should be arriving soon.
PART2 – “Feels Like Home”
Swedish trio PART2 has been quietly building a repertoire of compelling tracks like “When the Dark Night Comes Around” and “Everything Is Here,” but they remain wildly underrated. Maybe their latest release will change that. “Feels Like Home” is their finest track yet, an enchanting tune that demonstrates the band’s gift for beautiful melodies, sentimental lyrics, and understated charm.
Project Pitchfork – “Unity”
Veteran electro act Project Pitchfork completed a trilogy of albums with Elysium, the German band’s first full-length in six years. There’s a strong environmental current running across Elysium, but my favorite cut from the album is a bit of an outlier. “Unity” find frontman Peter Spilles feeling especially sentimental. “It’s time to be with the love of my life,” he sings, but the song’s not about a romantic partner. He’s actually singing about his beloved dark community.
Priest – “Demon’s Call”
The Swedish project Priest continues to evolve on fourth album, Dark Pulse, which pulses with hard-hitting dance tracks. “Demon’s Call” is a bit of an outlier and album highlight for its smoother, mid-tempo sound. The song channels ’80s nostalgia with melodic vocals and pulsating synths that blast off into a powerful synth line between the verses. “Demon’s Call” is among Priest’s best work yet.
Trent Reznor & Atticus Ross – “Compress/Repress”
Trent Reznor and Atticus Ross, the men behind legendary industrial rock band Nine Inch Nails, included an unexpected surprise on their Challengers score. “Compress/Repress” finds Trent Reznor singing. Those melodic vocals—penned by director Luca Guadagnino—and the track’s pulsating synths sound like vintage NIN from the Pretty Hate Machine era. This is my favorite thing they’ve done in nearly 20 years.
Vidéo L’Eclipse – “Frozen Solid”
Swedish duo Vidéo L’Eclipse released their sophomore full-length, Begin Repress Depart, one of the best albums of the year. It’s hard to choose a favorite track because there are so many good ones, but “Frozen Solid” stands out for its thoughtful imagery. Composer Robert Tingelöf transports listeners with uplifting beats, while vocalist Jonas Peterson demonstrates remarkable range with his rich, warm voice.
Vintage Voltage – “I Hate to Love You”
Vintage Voltage hit the ground running with their debut single, “I Hate to Love You.” It’s rare for a new project to deliver such a strong first impression, but this Swedish duo—known only by their intriguing aliases, Chris Leaf and Pete Branch—are already one of my favorite new acts. The air of mystery surrounding them adds to the intrigue, but it’s clear these are seasoned musicians at work. The song itself is elegant and melancholic, featuring minimalist lyrics that linger long after the song ends.
White Noise TV – “Deep Waters”
Berlin-based duo White Noise TV embrace the lush synth arrangements, pulsating beats, and deep vocals that characterize futurepop. But they do it with a modern sheen. The contemplative, intricately layered “Deep Waters” is one of several highlights from their third album, New Dawn.
Whorticulture – “Faust”
Denver’s Whorticulture continues to rise in the darkwave scene with their sinister blend of synthpop, industrial, and gothic subject matter. On “Faust,” they draw inspiration from the classic tale of a man who makes a pact with the devil. Though they never mention the character by name, lyrics like “Just pledge your heart, give your soul, and I will take you” echo Faust’s temptation. It’s a masterful blend of haunting themes and dark electronic dance music.
