#Best of synthwave and retro electro

[22martie]

'Back To The 80's' | Best of Synthwave And Retro Electro Music Mix | Vol...

[synthwavemusics]

Born For Synthwave Short

https://www.youtube.com/watch?v=H5ATURkX_IE https://www.youtube.com/@HarmonicHolo https://www.youtube.com/@WeAreVR360

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[fmp2rubix1786]

Pop Music Other Media.

Pop music continues to evolve, blending with different genres and incorporating new trends.

A Current Popular Subgenre of Pop Music is Pop-Rap, and it works because he combination of two popular styles—pop’s melodic structure and rap’s fast-paced, rhythmic lyricism—creates a fresh, engaging sound that appeals to fans of both genres.

An example of an unpopular subgenre of pop music is EDM Pop, because of the overproduction and repetitive nature of many EDM-pop tracks have led listeners to seek out fresher, more dynamic music that incorporates new genres or explores deeper, more complex themes.

In 2025, pop-rap, electro-pop, synthwave/retro pop, indie pop, and Latin pop are currently thriving in the mainstream, thanks to their ability to blend catchy hooks, fresh production, and cultural influences. On the other hand, traditional pop, bubblegum pop, pop-punk, country pop, and EDM pop are seeing a decline in popularity. These genres have either aged out of the mainstream or are being overshadowed by newer, more innovative styles that reflect shifting tastes in the music industry.

AI Prompt: Pop Music Other Media.

An example of a singer of pop music who has won best solo performance.

[frankwill80]

Synthwave Retrowave Livestream | Best Retro Electro Vibes 24/7 🕹️✨

[conanijdfhdfwqjhdwfq]

New 2025 - Back To The 80's: Best of Synthwave and Retro Electro Music M...

[jose-a-perez]

'OUTRUN' | Best of Synthwave And Retro Electro Music Mix for 1 Hour | Vo...

[generalpersian021]

Back To The 80's | Best of Synthwave And Retro Electro Music

[doomd0g]

Best of Synthwave And Retro Electro [Part1]

[musicforyou]

CYBERPUNK: Music Inspired by the dystopian universe of Night City.

[ihni]

🎶✨when u get this, list 5 songs u like to listen to, publish. then, send this ask to 10 of your favorite followers (positivity is cool)🎶✨

I also got this from an anon, so I'll just answer both at the same time :)

For writing: Audiomachine - another sky (album) For writing (80s vibes): Paradise Magic Music - 'Back To The 80's' Best of Synthwave And Retro Electro Music For enthusiastically yelling along to whenever it comes on: John Parr - St. Elmo's Fire For landing, after a long day at work: K.Flay - Blood In The Cut For jamming: Nina Simone - Sinnerman

[auralpatterns]

well it's been a while on here! let's do a 2021 wrap-up of discoveries (from any year; people who think they can do an effective end-of-year wrapup of all releases that year as casual listeners are fooling themselves)

per RYM I've logged 212 new ratings:

| 2 at 5 stars |||| 21 at 4.5 stars |||||||||||| 59 at 4 stars |||||||||||||| 66 at 3.5 stars |||||||||| 47 at 3 stars ||| 14 at 2.5 stars | 1 at 2 stars | 2 at 1.5 stars (first ratings I've given this low since 2007)

One of the two 5-stars is a 90s single I've known for long and hadn't gotten around to rating before … so my best-rated find of the year is uncontestedly Arjen Schats, Manifolds (2021); classic Berlin School

The 4.5-ers:

Sergey Eybog: Everlasting Summer (Bright Side) (2013) – cool VGM, very sunny atmospheres. I have not played the game (apparently a visual novel actually)

Nigel Mullaney: The Navigator (2021) – versatile synthwork from a long-time Ian Boddy collaborator

U/V Light: Cenotaph (2015) – hella catchy retro synthpop; 5 stars for the opener "Arriviste"

V/A / Lucky Lotus label: Journey to the Stars (2016) – four-hour orbital strike of J-core / J-trance / allies. I got this in 2018 already but eh it was back in its day a major stimulant for me get my thesis finished and all, might as well leave it a shoutout here

Material Object: Indiana Drones (2013) – very ambient techno, dedicated to the late Pete Namlook

CFCF: Liquid Colors (2019) – the new savior of ambient d'n'b? not even in a meme way?

Curium: Aember (2007) – chill IDM from what I think of as the "netlabel side" of the genre: none of the drillcore 3avant5u aggression, just a honest interest in doing clever electronic music

Маяк: Река (2013), Вышеe звёзд (EP, 2014) – best synthwave find of the year. you may need to know something about East European 80s to get full nostalgy bonus from this

Holon: Connect | Isolate (2017), Echoes of the Void (2017) – a new breed of synth music entirely really; psybient techniques without the drugs, electro-industrial soundworld without the angst, space exploration without the analog fetish … to honor the trend of Really Dumb Genre Names I've decided this should be called "Uplifting Industrial"

Kashiwa Daisuke: april.#07 (2007) – modern electro-classical snippets; some fantastic, some eh

Doss: Doss (EP, 2014) – dream trance! it's not just for the 90s, even if kids these days for some reason get the core idea usually wrong completely *coughxd*

Penguin Cafe: Handfuls of Night (2019) – not the original Penguin Cafe Orchestra but an excellent "sequel band"; if you ever needed more Brian Eno in their work maybe

Aural Expansion: Surreal Sheep (1995) – kinda same deal as Aember above, more actively techno; might be better than the much-hyped 76:14. it is very cool when labels put their 90s or 00s back-catalogue, rarities and all, on Bandcamp

Floating Points: Bias (single, 2020) – some promising initial exploration into "future garage". I still have no idea what is the core sense of "garage" or if one even exists

Nanoray: Zapper (2021) – wherein it turns out that hardcore breaks is not just a new spelling for breakbeat hardcore and is actually a cooler new evolution. a lot of it is a bit over-memed but this one is just right for me

Martin Stürtzer: The Omarion Nebula (2020) – best ambient find of the year; artist mostly does somewhat less outstanding Berlin School

Zabutom: Zeta Force (Digitone Version) (single, 2021) – FM synth re-edit from Swedish chiptune legend's 2011 EP. more please

Tangerine Dream: Recurring Dreams (?? compilation, 2019) – new-generation lineup goes back to the basics forreal and puts out excellent advanced covers of their classic-era work. much better than similar attempts in earlier decades

Earth Trax: LP2 (2020) – I'm finally starting to find good clues / entrypoints into house; this one and several others found via @lamuyazimina (thx!)

[timelocker]

TIME-OUT QUARTET   //   MUSIC.

the quartet’s musical tastes when it comes to their songs & covers goes pretty far -- which is both strategic when it comes to the number of people they want to reach, and accomodates each of their members. not only that, but the quartet also uses songs that came from the HUMAN SOCIETY for their covers, which adds to their anti-war and revolutionary statements. 

i’m gonna list some bands & genres to give examples when it comes to their tastes to the best of my abilities cuz tbh i know nothing when it comes to music.

pop rock, such as panic! at the disco, tears for fears. generally speaking, those will have al as the main singer. he's got a very good voice and, just like rascal, will sing and scream the loudest.

synthwave, retrowave, house & electronic ( TWRP, daft punk ) with the use of a voicebox are oz’s powerhouse, since he refuses to sing without it ( and he does an awesome job at it ).

when it comes to screaming and yelling, that’s all rascal. screamo, metal, that’s rascal’s forte, and her style is both modern and retro, with a lot of songs from the early 2000′s. yes cascada is in there. rock ( guns ‘n roses ) and pop are also very much her style. whatever makes her move. she's got a soft spot for electro swing.

while marble doesn’t sing much, unless she has to back-up one of the singers, she really likes marina and the diamonds and lizzo. :)

[shyearthquakedaze]

Best of Synthwave And Retro Electro [Part1]

[thesinglesjukebox]

THE WEEKND - BLINDING LIGHTS

[6.50]

Considering this and "Heartless," the Jukebox concludes that a heart is worth 2.6 decimal points...

Andy Hutchins: A guy whose career has been spent toggling between scuzzy, drug-driven explorations of the dark and Michael Jackson impressions of variable accuracy finally finds the midline between those bumpers while doing 120 in a Testarossa and surrenders to '80s-era cheese -- that flimsy synth line that echoes the hook melody and bridges the chorus and verse is both ridiculous and perfect. It's okay to be corny! [9]

Juana Giaimo: I recently met someone who told me he was a big fan of The Weeknd, and it made me wonder whether all music writers sometimes just start hating someone without many reasons. But personally, I'm enjoying this -- maybe because it doesn't sound like The Weeknd? The fast beat and the '80s keyboards are more dynamic than anything he's released in the last couple of years. He's playing the "I can't love, there is too much lust in me" character again, but considering the first line of "Heartless" is "never need a bitch, I'm what a bitch need," "Blinding Lights" suddenly sounds super deep. [7]

Tobi Tella: The Weeknd's pop pastiches have been better than his woozy R&B attempts lately, highlighted by how much better this is than "Heartless." This has more energy than most of his other forays into this '80s sound, and that sense of propulsion works wonders. [7]

Jacob Sujin Kuppermann: Everything The Weeknd does works better at high tempos than at slow. The creep of his voice, the way his lines linger and descend, fits better when it's not just another part of a languid whole. On "Blinding Lights," The Weeknd is an irritant, buzzing around the electro-pop of the beat like a moth navigating to a blocked-off flame. It's a pop song that makes the desperation of trying for a pop hit into something slightly rabid, and more compelling than an album full of downer-driven torch songs. It passes the "is this a banger in real life?" test, too -- at every party I've been to this year, "Blinding Lights" was the only unifying dancefloor hit. [8]

Scott Mildenhall: As if seeing a lost Italo classic through new eyes, The Weeknd and his sugar-sweet synths sell this set piece with verve. He forgoes the worst of his cliché for a more urgent than tense approach: showing rather than telling the drama. It's a full, almost maximalist sound delivered through minimalist means: The verse slides into the chorus, and every part has its counterpart, almost, but never quite interlocking as they brush past. [8]

Thomas Inskeep: Time-travel back to 1984 and this would have been a Laura Branigan single. In 1985 this would've been on the Breakfast Club soundtrack, because it's totally got the right tempo for the "Molly dance." (Seriously, listen to this while playing that video on mute and tell me I'm wrong.) The Weeknd adds nothing, but that's to the track's benefit because a) his personality (cf. cocaine and sexual assault) is gross, and b) anon-ish mid-'80s uptempo synthpop is kinda my jam anyway. [7]

Isabel Cole: Pretty enough, I guess, although the synths have started feeling a little video game fight scene for me. But I have listened to "Blinding Lights" at least half a dozen times in a row actively trying to attend to its particulars enough to form an opinion, and my brain simply refuses. Which is kind of its own information, you know? [4]

Brad Shoup: A few years ago, he might have forced a snow-blindness joke. But now there's just a withdrawal reference and that's it. He's making the safe moves, and so is Max Martin: even I know Drive-core isn't in fashion. [6]

Kylo Nocom: "Oh, this is Max Martin?" I asked myself while looking up the track credits, impressed by the more entertaining murk of his synthwave biting that had mixed results before. "Oh, this is Max Martin," I realized once I kept listening and found out he had no other ideas. [5]

Alfred Soto: For fuck's sake, enough. How many Swanson Frozen Fish 'n' Chip versions of 1985 Holiday Inn acts will we endure before our gall bladders rupture from nostalgia overdose? Tender-voiced narcissism needs one-finger keyboard riffs for support like Prince needs Grammy tributes. [4]

Wayne Weizhen Zhang: The beat is propulsive and the melody is tinged in gorgeous melancholy, but Abel's the star here. He gives his best vocal performance in ages, emoting with the calm mania of someone coming down from a high. [7]

Julian Axelrod: That whoo! before the wind tunnel synth rush chorus is the most emotional I've heard Abel Tesfaye sound since he begged to fuck Julia Fox in the bathroom in Uncut Gems. It's also the most I've liked Abel Tesfaye since he begged to fuck Julia Fox in the bathroom in Uncut Gems. [7]

Maxwell Cavaseno: "Lost in the Fire" was like chromed-out La Brean spittle getting hacked into your mouth with vengeance and spite, a weirdly underappreciated chance for Tesfaye to find his weapons again by remembering his urges for cruelty. Here he's returned to something else that's familiar from his early work: detachment and disconnect. The Vangelisian synths swooshing around his falsetto also occupied so much of Kiss Land, but there he was trying to convey a stir of emotions. "Blinding Lights" isn't just numb; there's a deliberate disaffect. You end up learning what it's like if the whole point of "Take On Me" was to feel resigned to the helplessness of things moving beyond you at a rate where focus and absorption is not only impossible, but detrimental. Is that perhaps a reductive retro-futurism? Sure, if you think you can control your future. This song doesn't sound like it expects to. [6]

Katherine St Asaph: Ten(!) years(!!!) into the Weeknd's career, "Blinding Lights" finds him doing full-on outrun, after several singles of just mostly outrun. I wonder whether Max Martin ever finds it weird that the going sound of pop -- dictated as much by him as all the Redditors leaving comments on Chromatics videos -- now sounds exactly like the stuff that was popular around the time he was doing hair metal. Imagined Shitty A&R Guy brief for this: "Can you get me a song that sounds like Giorgio Moroder, or 'Take On Me,' or honestly just that Vine with the girl grinning to 'Take On Me'"? (Writing that, one gets the creeping realization that those references are all very specifically 2015, which perhaps says something about Martin's adaptation to the times. But so many people have been so wrong, like David-Frum-predicting-Trump's-trouncing wrong, by predicting Martin's decline, so who knows?) It's a backward trajectory for Abel Tesfaye, in more ways than one. We think of artists beginning their careers with this kind of fakedeep, false-heroic faux-lovelorn bullshit, a valentine cut from polyester and trimmed in coke, and then maybe it's revealed through tabloids or journalism or scandals or basic judging of character that they don't so much have skeletons in their closet as ascended to a fame on a staircase of skeletons, many freshly torn. But with House of Balloons and its subsequent trilogy the Weeknd built his on-record brand as an admitted, unapologetic scumbag, whose songs were filled with often-drugged women, used When the public loved the scumbaggery enough to boost him from hipster-famous to famous-famous, he paired each more charming pop track with a repudiation: "Heartless"'s "lowlife for life," "The Hills"' "when I'm fucked up, that's the real me." (His mentor Drake has also tried to do this, with less focus and less convincingly.) But it increasingly seems like The Weeknd's long-term goal is for his music to culminate in sensitive facade: a Miami Vice Byron who soothes with familiarity of form, with singles so expensively vulnerable they gleam like a neuralyzer and erases memories equally well. I suspect, for much of my cohort, that's the generational dream. [6]

[Read, comment and vote on The Singles Jukebox]