The New Summer Bleaks is an international collaborative dystopian pop project. Incredibly innovative and dipped in nostalgia, they claim these recordings were conducted via the internet and snail mail over the last couple of years. Possibly a Covid creative project, the details are murky and the contributors are mostly anonymous. The vintage photos are apt descriptions of their nostalgic leanings. Every song is like a sonic postcard, recalling Eighties memories reminiscent of the original Wonder Years, suburban upbringings, a generation of youth who looked to MTV for validation and inspiration.
The mixes are crisp. These producers know more than a little about elegant spacing and sound design. Their style is somewhere between Gary Numan and Human League, but with modern indie sensibility in the spirit of Dr Dog, LCD Soundsystem, and Phosphorescent. The Numan reference is directly related to how they use synths, and the masterful craftsmanship employed in tweaking these tones. The songs are charming, feel good scribbled notes passed between flirty novices in high school classrooms. They littered these singles patiently over the last year, and have now collected them together along with new classics on the album All This Gas.
Synthwave fans should relish in their authentic adaptation of retro pop. It’s reminiscent without being derivative. The New Summer Bleaks are in a league of their own.
The entire album slaps, we’re featuring Kids Are Cracking in the Leaves now on our Best New Indie Synthwave playlist.
ELIOT is a force of nature. Over the last decade he has constructed a masterful career, enriching collaborations with Jessica 6 and Beth Hirsch, and lending his production talents to several genre-bending trailblazers including Natassa Bofiliou and Erasure. The electronic troubadours extensive journey has dipped into House, EDM, Dance Pop, and more. He teamed up with London producer Silverhook for their new single Neon Bluebird. Together they lend their pop intuition to the world of synth pop and the growing international retro movement.
Neon Bluebird reeks with classic 80s nostalgia. It recalls the most treasured acts in the genre, including Depeche Mode, Duran Duran, and Tears For Fears. This is a vocal first release, mixed with pop intellect and a balanced approach. It’s radio ready, with juicy hooks and a killer chorus. ELIOT’s classic vibrato is the main vintage placemarker. Whereas some modern synthwave revivals adopted a more indie pop style to their vocals, ELIOT stays true to the masters like Curt Smith and Simon Le Bon. They bring it full circle with bright sparkling synths to match the undeniable sex appeal. Neon Bluebird gets you to the dance floor and keeps the beat going from start to finish.
Fans of true blue 80s pop revival projects like The Midnight and Michael Oakley should gush over Neon Bluebird. Hear it now on our Best New Indie Synthwave playlist.
Eccentric guitar icon Tim Scott gets groovy on his new single Escape to Paradise. Scott knows a thing or two about embracing his musical talents to escape a bad situation. He picked us up when covid was putting us down, throwing rooftop concerts and building the morale of music lovers in his hometown. With Escape to Paradise, he hopes the feel good vibes last.
There’s undeniable 80s pop influence to the music’s design. His vocal stylings also recall early solo works by Sting, and when paired with his bluesy guitar work, a 90s Clapton feel not revisited in some 30 years.
The summery pump and atmospheric harmonies suggest what The Beach Boys might have sounded like if they came onto the scene in 1985, or if Robert Palmer had injected a little more beach pop into those island inspired blues grooves. One things for certain, Scott brings a fresh, guitar heavy alternative to the 80s revival movement. Fans of guitar heavy retrowave projects like Retroglyphs should dig this upbeat alteration.
Enjoy Escape to Paradise, now on our Best New Indie Synthwave Playlist.
Jack Tracy creates erotic retro pop on his juicy new single Close. “We just take off our clothes, take some time to get close.” Tracy doesn’t beat around the bush, or more likely he does 😉
The album cover features four angles of his masculine naked backside, as Tracy is direct in offering where this song fits into your daily routine.
Artists with R&B appeal caught in the 80s pop machine mostly gave in to the glittery synths and punchy electro drums known to new wave. It gave us classics like Rick Astley’s Never Gonna Give You Up and Jermaine Stewarts We Don’t Have To Take Our Clothes Off. With Close, Tracy earns a seat at their table.
His erotic tenor quivers with soulful emotion. Rooted in Marvin Gaye’s sexual healing, Tracy continues a tradition of catchy undeniable pop that is unapologetically about getting sexed. The retro flavor gives in to some modern production ideas that give Close nightclub potential. It should be an instant queer classic, but will connect with anyone, regardless of preference, looking to get frisky.
We got turned on by Close, hear it now on our Best New Indie Synthwave playlist.