The charismatic sound of Love Asylum reaches poetically provocative new heights, as the long-time duo introduce their first single of 2024.
The concept is both simple and complex, not unchartered territory in song or reality anymore, but this realism and fear ties in with freshly posed questions like ‘What does it mean to be free in a world controlled by algorithms?’
Hypnotic production and distant vocals instantly present an enchanting, retro realm of sound, as Joanna Adamiak crafts her latest synth-pop exploration Let Go.
“The reason I wanted to tell these stories is simply because if I don’t, no one ever will.”
Bad Bubble never fails to drive with the soul and the honest search for connection and understanding. War is its own creative beast entirely, beautiful and heartbroken, perhaps relatable to many but also unflinchingly personal.
It’s beautiful, but not without melancholy, a certain nostalgic ache – exactly the kind of nuance Bad Bubble is masterful in presenting.
浮世幻想 (Floating World Fantasy) offers up an impressive collection of songs, effectively both familiar and fresh in everything from structure to the subtle character and faultless ability of the soulful, mildly raspy but still comfortingly smooth leading voice.
Achieving a likable balance between the electro-immersive dream realm and the more intimate singer-songwriter musings of indie pop, True Vacation present an irresistible arena of sound.
Explosively colourful for its downpour of euphoric synths, layers and the relentless opening pace, Jake Brantley’s EP Color Theory goes on to weave an array of melodic, enchanting and intimate stories.
Majestic production and passionate vocals unite with increasingly immersive songwriting, as Sandor Gavin and Weldon collaborate for the beautifully evocative Ghost Of A Memory.
Bad Bubble forever balances a sense of cinematic vastness with that of quiet contemplation. It’s an ambient realm, meditative to a degree, but it’s also an arena-ready indie anthem that aches to be witnessed in a huge and mildly-reverberating setting.
The unmistakable synth-pop and electronic-rock edge and embrace of MELØ returns this year on a seductive high, for the dark yet charming King Of Nothing.