Welsh musician Rhys Viney's uses his latest project Go Life to send echoes of classic '80s synth pop, a la Depeche Mode or OMD, in new, reverberating directions.
When I think of my favorite Arcade Fire songs, with "Sprawl II (Mountains Beyond Mountains)" and "Rebellion (Lies)" sitting at the top of the list, I find a common thread links them: compared to other Arcade Fire songs, they're the more danceable, more full cuts. I'm a sucker for synths, and Arcade Fire knows how to use them.
The name the Bynars evokes the binary foundation of its synth pop (not to mention an obscure "Star Trek" reference) and yet a track like "Everyone Is Here" has more emotion than most of the digi trend-chasing crowd.
Featuring the vocals of Ben Talmi, Boston's Art Decade employs a live approach to synth-pop -- that's a 15-piece orchestra you're hearing -- that results in a teenage symphony to pure romance called "No One's Waiting."
Small Black will have listeners swooning for the tantalizing sounds of its second album "Limits of Desire."
In times when the world often seems on the brink of financial collapse, there isn't a better time to dance and let loose. Phoenix knows what's up on its latest release "Bankrupt!"
With a sultry delivery and a slamming beat, Xenia Rubinos' new track "Hair Receding" melds hard, experimental rock and Afro-Caribbean sounds into something deeply felt and wholly original.
The Strokes have taken quite the detour since their proto-punk sound of the early 2000s. Where the Strokes once charmed with their simple, lackadaisical garage pop, 2006's "First Impressions of Earth" proved a bizarre and unrewarding attempt at new wave; the band then returned in 2011 with the even odder sounding album, "Angles."