Browsing Tag

80s Synth Pop

Vienna by Louise Aubrie Is An 80s Synth-Pop Soundtrack for the Nights You Wish You’d Lived

Louise Aubrie invited her fans into an 80s synth-pop fantasy with her latest single, Vienna, which may use the same setting and sweeping neon lights as Ultravox’s single of the same title, but this anthemic earworm is a trip you are guaranteed to have never taken before.

The London-born indie rock artist, who splits her time between the UK and the US, brings a transatlantic sensibility to Vienna, letting synth-lit glow guide you through the emotive ecstasy of a release which captures her at her most affecting zenith. It is the ultimate soundtrack to the nights you wish you had experienced as she spills sentimental imagery through the lush contours of the retro pop release.

Taken from her forthcoming studio album LFA, Vienna was recorded at East West Studios in Hollywood and shaped by Aubrie’s relocation to Los Angeles, where the mythology of the film industry becomes part of the song’s heightened emotional frame. There is also a personal thread back to Billy Joel’s Vienna, particularly its reminder to slow down and let life arrive without rushing towards the next horizon.

With a career spanning Abbey Road sessions, performances at The 100 Club and The Bowery Electric, and support from Billboard, BBC Radio 2, BBC 6 Music, Kerrang and BBC Radio London, Aubrie brings real industry weight to the single.

Vienna is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Alexander Setzko’s Fairy Tale Is a Dreamy Indie Rock Escape from Memory’s Sharpest Edges

Alexander Setzko

Rose-tinted glasses come with thorns -on the dreamy, new wave indie jangle-pop single, Fairy Tale, by Alexander Setzko. The Brooklyn-based multi-disciplinary artist instantly sweeps you up within an ethereal cinematic glow, conjured by spectres of 80s synth pop and the kind of guitar work which made Johnny Marr stake his claim as one of the most influential indie guitarists to ever live and breathe over a fretboard.

Fairy Tale carries the romance of immaterial mythology, but these fables only carry visions of your past as Alexander Setzko’s dramatically lush indie rock opera vocals paint a vignette of wistful passion for what you wish still remained. The track feels suspended between sentimental illusion and the dull dawning of realisation, letting nostalgia shimmer while still exposing the emotional cost of living too long inside it.

Setzko is the powerhouse behind the vocals, instrumentation, recording and final production, giving Fairy Tale the distinct signature of an artist steering every contour of the release. As the cherry on the cake, Alex Blade Silver’s saxophone solo adds a strident timbre to this narratively enrapturing triumph, which we have been blessed with an early preview. If there is any summer single worth waiting for, it is this stunningly evocative tour de force, granting better escapism than navel-gazing into your memories.

Fairy Tale will be available to stream on all major platforms from September 1st. Buy the single on Bandcamp.

Review by Amelia Vandergast

Haven Bell let heartbreak shimmer like strobe lights in his heady-with-80s-nostalgia pop anthem, Knife in the Heart

Haven Bell has taken himself from Kosovo to New York, but his sound will take him to a worldwide arena, especially now that his new release, Knife in the Heart, is on the airwaves after its Halloween debut. His signature shimmer pop sound is more scintillating than ever in the heady-with-80s nostalgia synth pop hit, which reincarnates the atmospheric percussion with an even more affecting pulse, lays the reverb on thick and exhibits what it means to pour your heart and soul out over strobing synths.

The single arrives in the lead-up to his upcoming EP Blue Hour, which is set to mark a pivotal chapter in the evolution of his emotive approach to songwriting. Since self-releasing Blue in 2017 and chasing down catharsis in Stories of a Summer in 2020, Bell has never strayed from vulnerability. But in Knife in the Heart, he sharpened it. He pulled the pain of fading intimacy into glossy pop arrangements that don’t cut the emotion down for the sake of polish. His sultry vocal style, poetic leanings and affection for nostalgic aesthetics collide to render a bruising dose of electropop melancholia. It’s cinematic, but never superficial.

Knife in the Heart is now available on all major streaming platforms, including Spotify. 


Review by Amelia Vandergast

Birdsong Takes Flight in Synthewomia’s Synth-Pop Sanctuary ‘Birds’

Synthewomia have tuned into nature’s frequency with their latest synth-pop single, ‘Birds’, harnessing tranquil birdsong to craft ambient chiptune melodies that guide you through the cathartic experience of yielding to the natural world, despite the electronic fabric of the soundscape. Once the clarion call of soul-soaked vocals beckons you deeper into the track, it becomes an immersion into pure escapism, stripping away your material reality and offering an invitation to a tribal reckoning through rhythms designed to stir dormant primal instincts.

Behind Synthewomia are Swiss-American duo Taess Bright and Nancy Berie, two extraordinary synth-pop musicians driven by a mutual passion for the sonic legacy of bands like Pet Shop Boys, Yello, and Depeche Mode. Bright brings the celebratory spirit of hot South Florida, paired with vocal clarity reminiscent of the crisp air of the Bernese Alps. In vibrant contrast, Berie embodies the raw energy of California’s rugged West Coast and the harshness of the Swiss mountains. Armed with vintage synthesisers, vocoders, talk boxes, electronic drums, and a host of innovative controllers, they weave nostalgic ’80s charm with contemporary precision, propelled by Bright’s commanding vocals.

‘Birds’ skilfully embodies this synthesis, creating a lush, atmospheric haven where nature’s delicate intricacy harmonises with electronic synergy, echoing the band’s dual heritage and inventive spirit.

‘Birds’ is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Laptop Singers & Chris Cron Uncorked a Pop Paradox in ‘Drinking to Get Sober’

Starting with an effervescent euphonic burst of harmony, Drinking to Get Sober instantly delivers everything we’ve come to love about Laptop Singers and their affectingly accordant approach to pushing traditional songwriting chops into the modern music scene and allowing them to tear through the noise of instant gratification.

With shimmering synth lines and twilight oscillating in the panorama of a production, Drinking to Get Sober caresses you into an expansive space, nestled away from material reality, constructed by candour and compassion. The lyrics are grounded in bruised sincerity without ever crossing into melodrama—just the brutal clarity of self-awareness.

The vocals, delivered in collaboration with Chris Cron, will strike all the right chords for fans of Sam Fender as they relay how the existential ache doesn’t stop when you come of age. Every chapter has its own growing pains, which get even sharper as you make your way further through life and are confronted with how little time you’ve got left to figure it all out and reach a point of self-actualisation.

Hailing from Gothenburg, Sweden, Per and Lars Andersson have channelled decades of songwriting experience into Laptop Singers since 2020. With a back catalogue spanning lush ambient detours and glitter-drenched pop, their most emotive work to date is here, with one of their most emotionally lucid collaborations yet.

Drinking to Get Sober is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

SonicFluxx Interview: Cosmic Inspiration and Artistic Evolution on Florida’s East Coast

In this A&R Factory interview, we speak with SonicFluxx, an artist shaped by a childhood amid the unique cultural and natural landscapes of Florida’s East Coast. SonicFluxx shares how experiences such as witnessing shuttle launches, growing up near Disney World, and being surrounded by 80s and 90s pop icons like Depeche Mode, Madonna, and Pet Shop Boys influenced his sound and vision. He reflects on his path from DJing to full-time music production in Los Angeles, alongside the challenges of adapting to social media in the modern music world. With new music on the horizon, SonicFluxx reveals a vision dedicated to using music as a healing force, ready to connect with listeners globally.

SonicFluxx, welcome to A&R Factory! Thanks for sitting down with us to discuss your career and your future ambitions. We’d love to know how your upbringing on Florida’s East Coast, among such iconic figures, influenced your sonic signature. 

Growing up in Central Florida in the 80’s and 90’s was a special time in our American history and I feel lucky to have experienced many things that most didn’t during that era.  Growing up next to Disney World taught me that music holds messages and meaning and that music can be the language that unites all.

I watched the Space Shuttle program firsthand and watched many shuttle launches from my backyard.  I learned at a young age that there was more than this world we are on and I found love in the stars and the universe.  I questioned my existence of this planet at a pretty young age and what my role was.  I grew up living five minutes from the beach – walking through the sand and understanding the concept that a speck of sand doesn’t make much, but a whole bunch of it creates a beautiful beach.

When you grow up and live in such a magical and inspirational place, I think it tends and fuels the creative fire within and ignites the spark that so many musicians and artists before me have experienced.

What was it about Depeche Mode, Madonna, and Pet Shop Boys that inspired you to light your own creative spark? 

I found deep inspiration with these three artists particularly because through their music, I learned that songs can have a message to invoke positive change in society.  Many artists feel a duty to use their voice as a platform to invoke political, cultural and societal change in the world and this is also what I wanted out of my own music and songwriting.  Aligning with the same beliefs as an artist also made me feel connected to the artist themselves in a way and I found this connection to be very special.

How has your relationship with music changed over the years?

I was born in a Southern Baptist Church, so I grew up singing traditional hymns on Sundays. I grew up extremely sheltered from what is called secular media in the religious tone.  My introduction to pop and dance music did not occur until my rebellious teen era, in which I would spend hours in FYE at the mall and listen to CDs.  I consumed every bit of pop culture I could at this point in my life.  I connected with dance music in a spiritual way that spiritual music never gave me.

I began to study and analyze what made a great song at this age.  I would have a knack for knowing what songs on an album would be the next single before it was released.  I turned this talent into songwriting.  I was a DJ in my early 20s and began producing remixes myself with Sony Acid Music Studio on a laptop I rented from Rent-A-Center.

I am a self-proclaimed pop and dance music lover.  I took pride in sharing new tracks with people and seeing their reactions when they loved it.  After many years of no music interaction other than consumption, I quit my job, quit college and moved to Los Angeles to pursue a music career full time.  I find myself enjoying creating music more than I enjoy listening to it myself.  However, don’t get me wrong, I still stan for a few artists new music!

Creatively, what came most easily to you, and what did you have to work hard to hone?

Melodies, hooks and songwriting came the easiest.  Most of my songs have been written in about three days – one song I wrote in 15 minutes.  I have a knack for hearing a beat and immediately hearing a melody in my head.  Then words come after that.  It’s a chaotic process I will admit, but it works for me.

Half of my lyrics aren’t even written down anywhere because songs are written so quickly.  ‘Nomad’, for example, was half written and I made up the rest of the lyrics in the studio on the spot.  My songs come from my life, my struggles and my heartache – it’s pretty easy to spill out currently.

What is challenging for me is creating social media content.  I am not good at picture taking, not quick to take pictures in settings and I find creating and thinking of social content does not come easy at all.  I am from the MySpace generation, so the new era of social media has definitely been the biggest challenge to overcome for me.

You mentioned a period of depression after focusing on your vocation as an astronomer; do you believe a lack of creative output is to blame for a lot of existential suffering in others?

Short answer: yes.  I believe that many people do not use the right side of their brain enough and invoke creativity in their lives.  I love that book reading and crocheting has made comebacks these days.  I think more people need to find that creative output to truly find peace.  As a child, we use this side of our brain so naturally and it’s a beautiful thing.  When we lose our sense of imagination and wonder, we can lose who we are and where we are going – Walt Disney taught me that and I still firmly believe in it.

Could you tell us more about your vision for your music going forward and any new directions you are exploring in your artistic journey?

When I started my music career full time, I said that if my music reached just one person and helped them, I’ve done my job.  Music is healing.  Music can be your remedy, as I sing in my song ‘Remedy’, which is a love letter to all my fans.  I have achieved this and now my goal is to take the same concept but go worldwide.

I am always writing new music and do have new music ready to go and am planning to release a deluxe edition of the album around February 2025.

Stream SonicFluxx on Spotify and discover more about the artist via their official website.

Interview by Amelia Vandergast

Spiffy Man on Genre Fluidity, Retro Inspirations, and Crafting Stories Through Sound

As Spiffy Man prepares to release his new single, Nights at the Waterfront, he caught up with us to reflect on his artistic journey, moving from the familiar territory of Progressive House into the nostalgia Synthpop. In this interview, he shares the heartfelt story behind the track, his passion for weaving narratives through music, and his newfound love for retro 80s sounds. With a new album in the works and a dedication to pushing his creative boundaries, Spiffy Man offers insights into his evolving musical identity. Discover the depth and ambition driving his latest work.

Spiffy Man, welcome to A&R Factory! We’re stoked to have you as you gear up for the release of your forthcoming single, Nights at the Waterfront, which is due to drop on September 20. What’s the story behind the single? 

Thanks for having me! The story is fairly simple, a tale about two people who are dating and struggle with how to tell each other that they are in love. It’s part of a larger story being told in my album that will be released sometime next year.

What do you think the single says about you as an artist?

As an artist, I feel this track shows more of my diverse side. I’m typically known as a Progressive House artist but now find myself attempting to test my abilities in other genres, Synthpop more specifically for this single.

What was the process of bringing such an intricately layered track to life like? 

This track started off as a collaboration between myself and a friend, Tyler, back in 2021. We had abandoned the project and only recently did I decide to make creative corrections and change the direction of the track. Originally, it was called Late Night in Santa Monica by Tyler and for me, it was about my fiancée and I’s date nights at the Santa Monica Pier in California. So, some of those elements stayed in the track, the location just being Seattle instead of Santa Monica.

Did the genre fluidity come naturally? 

I would say transitioning to different genres is a challenge, but once I get into the flow of writing and producing the rest does come pretty naturally. I do a lot of studying into the genres I want to contribute to and thus become pretty immersed in the work.

After making so many waves in the EDM and progressive house scene, what inspired a shift to a more synth-pop sound?

I always loved the sounds of synthesizers in music from the 80s, from films and television shows to bands and groups such as A-Ha and Van Halen. I’ve experimented with Synthwave quite a bit and feel I found my retro sound through this new single. Some of the best 80’s teen rom-coms had a stellar soundtrack that was heavy on synthesizers and I’ve always wanted to maintain that magic they put out to audiences.

Judging by your streaming stats and the highlights in your career, you’ve clearly mastered the art of orchestrating earworms, has your success changed your relationship with music as an expressive art form? 

I’ve always wanted to tell amazing stories through my music. Over the years, I felt that I needed more visual representations of the story to help people get more involved and in tune to the stories I’m telling. Only more recently have I begun to challenge my emotions into the music and I feel it has definitely opened up the door to new sounds and means of expression.

After the release of Nights at the Waterfront, what’s next?

After this release, I’ll begin promotion for my next Progressive House single with my long-time friend, Sauniks, which will be featured. alongside Nights At The Waterfront, in an album I’m hoping to release in the spring. From there, the sky’s the limit as I’ll continue to push myself to new sound design and new mediums of storytelling.

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Stream Spiffy Man on Spotify and follow the artist on TikTok and Instagram.

Interview by Amelia Vandergast

Roubix & Ollie King painted the night in neon euphoria with their definitively 80s synthpop track, In Your Head

https://on.soundcloud.com/x5b9Y

Roubix & Ollie King’s latest collaboration, ‘In Your Head’, is a vibrant homage to the golden era of 80s synthpop, masterfully blending our collective appetite for nostalgia with contemporary production. Following the viral success of ‘Atlantis‘, this dynamic duo continues to captivate the European disco scene, and ‘In Your Head’ is poised to be their next chart-topper.

The track is a kaleidoscope of upbeat, synth-carved rhythms that instantly transport listeners back to the neon-lit dancefloors of the 80s. Fans of Erasure, Gary Numan, and The Human League will find themselves in familiar territory, yet there’s a freshness to Roubix & Ollie King’s approach that prevents the song from being a mere pastiche.

The way the duo embrace their pop roots is completely unapologetic. Rather than reinventing the wheel, the single unadulteratedly nods to the 80s era of pop as it professes to be head over heels under the reflections of a disco ball. The harmonies are sticky-sweet, the lyricism impassioned, and the instrumentals perfectly calibrated to evoke both memory and emotion. This isn’t just an earworm; it’s a track that transcends time, offering an exhilarating escape into a world of neon euphoria.

With Spotify already confirming its inclusion in one of their official playlists and an impressive line-up of gigs across Europe, Roubix & Ollie King are poised to reign synthpop supreme throughout 2024.

In Your Head will be available to stream on all major platforms from April 11; stream it on SoundCloud.

Review by Amelia Vandergast

Dylan Galvin painted a disparaging sign of the sonic times while firing shots at plastic pop acts in ‘How to Write a Pop Song’

Is there any better feeling than hitting play on a track and being greeted by lyrical depictions of the frustrations that keep you scathed? If you’re inclined to say no, you’re going to want to tune into Dylan Galvin’s latest hit, How to Write a Pop Song, where there are countless lyrical shots fired at the artists and producers cheapening the pop industry with every new ‘perennial pop earworm’.

The efficacious new wave synthpop hooks are buried under a myriad of lyrical layers which subversively make the single a revelationary exposition of how pop music has been plasticised and commercialised beyond recognition. With echoes of 80s greats in the same vein as George Michael reminding you of what pop used to be in its golden era fused with a modern synth aesthetic reminiscent of John Mayer, How to Write a Pop Song is a disparaging sign of the sonic times that will exhilarate you through the vindication you extrapolate.

With acerbic wit in no short supply, the track is a satirical triumph, especially with the inclusion of “choruses have got to big, thoughts have to be small”, and “just sing about your ex and how things used to be”. It was a bold move to be so damning of a genre he is contributing to, but Dylan Galvin more than pulled it off. While taunting the artists whose songs will be quickly be lost to history, he became unequivocally unforgettable.

How to Write a Pop Song will hit the airwaves on January 19; stream it on SoundCloud.

Review by Amelia Vandergast

Embrace the retro-future with The Exotic Ices Project’s seminal track, Disciple

Stepping out from the shadows of their former band, Ruby Jones and Patrick Spillane of The Exotic Ices Project ignited a fuse on a synth-pop explosion with their seminal single Disciples. The standout from their debut album, Sunshine Desserts, is a vibrant testament to their musical evolution and a bold statement in the world of new wave synth-pop.

Opening with a cascade of twinkling synths, reminiscent of stardust spanning the entire colour spectrum, the auditory spectacle sets the stage for a journey through a soundscape that is both familiar and refreshingly, chaotically, novel.

After capturing the essence of the 80s and propelling it into the modern era, the track takes an unexpected turn as choppy, staccato guitars enter, bolstering the composition with a raw, electrifying energy. This shift creates a synthscape driven by the tumultuousness of unchained emotion.

While Disciples may not align with everyone’s musical palette, it is a treasure for those who revel in the brighter, more intense shades of retro synth-pop. The track encapsulates the fervid dedication of its namesake, transcending into a realm of electro-rock fervour. It’s a daring composition, one that challenges the listener while remaining undeniably captivating.

With their bold colours and explorative sonic universes, Ruby and Patrick are not just riding the wave of synth-pop; they are redefining it.

The official music video for Disciple is now available to stream on YouTube.

Review by Amelia Vandergast