Category: Indie Electro Pop

Video by William Ruben Helms

New Video: Marie Céleste Shares Surreal and Dream-like Visual for Ethereal and Yearning “2 goélands”

Rising Montréal-based quintet Marie Céleste — Simon Duchesne (vocals, guitar), Philippe Plourde (keys), Olivier Tremblay (bass, vocals), Zachary Tremblay (guitar) and Guillaume Sliger (drums) — can trace their origins back to when the band’s members where high schoolers in Alma, QC during the 2010s. The French Canadian quintet’s sound draws from the diverse influences of its members blending elements of folk, indie pop, art rock, electronic music and world music.

For years, the quintet was content with playing just one show a year. Their songs — shaped by progressive rock roots — often stretched to ten minutes or more. But when they relocated to Montréal back in 2023, the band decided it was time to level up. Initially, the goal was simple: earn enough to cover their rehearsal space. Montréal proved to be much more than a backdrop — it became a catalyst for the quintet.

Canada’s second largest city has one of world’s more eclectic and vibrant music scenes. Immersed in their adopted hometown’s scene, they met a collection of musicians and set their sights on playing Les Francouvertes, a pivotal showcase festival that would end up changing everything for the band: Local tastemaker label Bravo Musique discovered their radiant, joy-tinged tape on prog pop, which at this point was much more refined and focused.

Last year was a breakthrough year for the French Canadian quintet: Bravo Musique released their debut, Feux de joie, which amassed over 800,000 Spotify streams, was supposed with a EP release show at La Sala Rossa and a few months later, a sold-out show at Fairmount Theatre.

Feux de joie‘s highly-anticipated follow up, the Amaury Pluvinage-produced Tout ce qui brille is slated for a March 13, 2026 release through Bravo Musique. The French Canadian quintet’s forthcoming sophomore effort will reportedly feature material that sees the band pushing their sound in new directions while anchored around a seamless fusion of acoustic and electronic textures. Thematically, Tout ce qui brille will celebrate human connection, the relationships that shape and sustain us, and the joy and vulnerability that come from being seen and held by others. The result is an album that radiates with warmth, friendship, community — and much more importantly, healing.

Tout ce qui brille‘s second and latest single, “2 goélands” is a broodingly meditative track featuring gentle layers of twinkling keys and atmospheric synths, stuttering drum patterns serving as a lush and dreamy bed for Simon Duchesne’s yearning delivery. Evoking the sight of soaring seagulls by the shore, “2 goélands” seemingly channels Cloud Castle Lake‘s gorgeous and cinematic 2018 effort Malingerer and Amnesiac-era Radiohead.

Lyrically, the song explores a relationship that has been damaged somehow but not irrevocably so; it’s a relationship that can be repaired, if both sides truly want that relationship to work and can see past their disagreement — or their current impasse.

Directed by Félix Simard-Tanguay, and set in suburban Quebec, the accompanying video for “2 goélands” features the members of Marie Céleste in surreal, dream-like scenarios that evoke and emphasize the song’s thematic concern of relationships on the brink — but eventually the disputes are settled with a handshake.

Single Review by William Ruben Helms

New Audio: I WANT POETRY Shares Ethereal “Mirrors Of The Sky”

German indie electro pop duo I WANT POETRY — Tine von Bergen (vocals) and Till Moritz Moll (keys) — have received attention for crafting music that simultaneously feels cinematic and deeply human, blending emotional depth with luminous pop soundscapes.

Developing a reputation for an immersive live show and striking visuals, the German duo have earned critical acclaim and a nomination at the European Songwriting Awards. The duo have played over 100 shows across their native Germany, Poland, Sweden and elsewhere, while making the run of the European showcase festival circuit. And adding to a growing national and international profile, the duo’s single “Light” landed on iTunes charts in several countries, amassing over 500,000 streams globally — and was selected for the soundtrack for the Canadian film, La mécanique des frontières.

2026 looks to be a breakthrough year for the German indie electro pop duo: Their highly anticipated third album, Future Selves is slated for an early 2026 release. The album is reportedly hopeful and transformative, inspired by a brief period of time when the future still felt like a promise, channeling the spirit of past utopias and dreams of progress. And as a result, it offers a forward-looking visions shaped by memory, imagination and the will to create what comes next. Sonically, the album’s material marks an evolution from the reflective tones of Solace + Light, featuring layers of shimming synths and soaring melodies.

The German duo will be touring to support the tour will include an appearance at The New Colossus Festival‘s seventh edition next March. But in the meantime, Future Selves‘ first single “Mirrors Of The Sky” is a slow-burning and broodingly autumnal track, featuring skittering beats and swirling, atmospheric synths. The song’s ethereal production serves as a lush, dream-like bed for von Bergen’s expressive, Kate Bush-like vocal. The result is a song that feels cinematic in scope, yet as intimate as a lover whispering in your ear.

Single Review by William Ruben Helms

New Audio: RXRXBBIT Shares Sultry “Sunk Cost”

RXRXBBIT is a mysterious and emerging singer/songwriter, producer and pop artist, who has been rather prolific over the past 18 month or so, releasing a handful of attention grabbing singles.

The emerging artist’s latest single “Sunk Cost” is a swaggering and sultry, dance floor bop anchored around a thumping, hyper pop-meets-alt pop production while featuring an unabashedly unhinged, unafraid and brutally honest narrator, who overshares yet makes it flirty and feminist.

Video by William Ruben Helms

New Video: JOVM Mainstay Alewya Teams Up with Dagmawit Ameha on Sultry and Propulsive “Night Drive”

JOVM mainstay Alewya is an acclaimed London-based singer/songwriter, producer and visual artist. Born in Saudi Arabia to an Egyptian-Sudanese father and an Ethiopian mother, the acclaimed London-based artist has spent her life surrounded by diaspora immigrant communities: She grew up in West London and after a several year stint in New York, she returned to London. Upon her return home, the Saudi-British artist developed and honed her ear for music through the sounds of the Ethiopian and Arabic music of her parents and the ambient alternative rock album of her brother.

The Saudi-born, British artist is part of a generation of artists actively redefining global music: They’re generally rooted in heritage yet unbound by it. Describing herself as a partner, who makes music, Aleway approaches sound as texture and feeling, guided more by intuition than structure. Her sound and story widen the Black-British frame, bringing the oft-under-heard North/East African perspective into a much-needed focus.

Back in 2020, the JOVM mainstay burst into the scene with an attention grabbing feature on Little Simz‘s “where’s my lighter,” which caught the attention of Because Records, who signed the rising artist and released her critically applauded debut, 2021’s Panther In Mode EP, which featured:

  •  The Busy Twist-produced debut single “Sweating,” a forward-thinking Timbaland-like mesh of trap, reggae and electro pop. 

  • “Spirit_X,” which paired elements of Timbaland, trap and drum ‘n’ bass paired with the rising British artist alternating between spitting fiery bars and sultry crooning

  • The sultry and defiantly feminist anthem “Play” 

  • “Channel High” a slick synthesis of grime, contemporary R&B, dancehall, electro pop and Afrobeats

The acclaimed JOVM mainstay’s latest single “Night Drive,” feat. Dagmawit Ameha is the first bit of new material in over three years. The new single sees the acclaimed Saudi-British artist boldly stepping forward into a new creative era and way of life.

“Night Drive,” is a lush, slickly produced, futuristic-leaning blend of 80s and 90s Detroit and Chicago house, minimalist beats, alt R&B, Ethiopian music, Afrobeats and komische musik with a playful and naughty nod to Grace Jones’ “Pull Up To The Bumper.”

Written and demoed by Alesha before being fleshed out and brought to live with long-time collaborators Craigie Dodds and Dean Barratt, “Night Drive” began as a minimal and intuitive feeling that evolved into an ode to Detroit house and the roots of Black electronic music.

Directed by Taichi Kimura, the accompanying video for “Night Drive” was shot during a recent, deeply influential trip to Japan, the video is a fever dream that follows the acclaimed JOVM mainstay through the heady, late night buzz of a neon-lit city, the backseat of a speeding cab and the sweaty pulse of a packed dance floor.

Single Review by William Ruben Helms

New Audio: Vancouver’s RX1F Shares Yearning “Afterimages”

RX1F is a Vancouver-based electronic music producer and artist, who has a reputation for openly challenging music norms while staying with an immediate, infectious and accessible pop territory. HIs work is rooted in an approach that frequently balances experimentation and playfulness.

Driven by a desire to push the boundaries of pop music, the Vancouver-based artist frequently tackles unconventional subjects. “I try to find subjects that aren’t normally covered in pop songs and try to make them into pop songs. Sometimes it works out well, sometimes… less well,” the Canadian artist says. “I’m fascinated by old-school pop songwriting and the puzzle of making melodies and chords that play nicely together. It’s a game with only one rule: make it sound good.

“I want to make music that is balanced: there’s darkness, there’s light, there’s energy, there’s emptiness,” he continues. “I get bored very quickly if I sit in the same place and eat the same flavor after a while.”

The Canadian artist’s latest single, the TR/ST-like “Afterimages,” features a dance floor friendly production featuring layers of pulsing synths, propulsive kick drum serving as a woozy yet lush bed for RX1F’s plaintive vocal telling a story of losing someone dear, being forced to accept its inevitability — and then recognizing that ghosts linger.

“This is probably as close as I’ll ever get to writing a love song,” the Vancouver-based artist explains. “It was written many years ago at a point where I could see a relationship was not going to make it, but it didn’t really crystallize until a close friend passed away last year – it’s kind of loss that you can never recover from. You’re always looking backwards.”

Single Review by William Ruben Helms

New Audio: JOVM Mainstay Thaïs Shares Bold, Uptempo Rework of “MTL-Paris”

Rising Paris-born, Montréal-based singer/songwriter and JOVM mainstay Thaïs has received attention across the Francophone music world and elsewhere for an atmospheric and delicate pop sound, which perfectly compliments her ethereal delivery.

2022 was a breakthrough year for the JOVM mainstay: She signed with Bravo Musique, who released her highly anticipated full-length debut, Tout est parfait. The following years have been busy for the rising French Canadian artist: She has opened for KYO, M, Arianne Moffatt, Dumas and Suzane while working on her Blaise Borboën and Thaïs co-produced sophomore album Personne, which was released earlier this year.

Described by the JOVM mainstay as “extroverted music for introverts,” Personne‘s material are energetic tracks that are meant to lead towards self-affirmation while allowing listeners to delve deeper into her universe. The album features “Taxi,” a slickly produced, dance floor friendly bop that to my years, sounds as though it were inspired by the likes of Robyn.

The Paris-born, Montréal-based JOVM mainstay recently reworked album single “MTL-Paris.” The album version is simultaneously atmospheric and introspective before slowly morphing into much more dance floor territory, seemingly reflecting a narrator, who’s growing in self-assuredness and confidence. “MTL-Paris V2” is a much more upbeat, dance floor friendly bop from the jump, turning the song from a tale of growing confidence, to one of boldly liberating oneself — with the realization that you’ve only got one life to live.

For the JOVM mainstay, reworking her own work is a creative exercise that allows her to reveal other possible, sometimes even latent facets to her material — all while retaining the “extroverted music for introverts” concept of the album.

Video by William Ruben Helms

New Video: Endearments Share Yearning and Cinematic “Cannon”

Brooklyn-based singer/songwriter and bassist Kevin Marksson has made a career out of wearing his heart on his sleeve, pouring years of diary entries into the music and lyrics of Endearments. On the project’s most recent EP, 2023’s self-released, Abe Seiferth-produced, It Can Be Like This, Marksson and his bandmates — Anjali Nair (guitar) and Will Haywood Smith (drums) — channel their frontman’s introspections into lush, reverb-soaked pop that evoke 4AD Records‘ heyday and Roxy Music.

The trio recently signed to Trash Casual, who released their latest single “Cannon.” Continuing an ongoing collaboration with Abe Seiferh, “Cannon” showcases a cinematic sound that features glistening synth oscillations, propulsive drumming and bursts of angular guitar paired with a rousingly anthemic hook and chorus serving as a lush, brooding bed for Marksson’s achingly yearning, melancholic delivery. The result is a song that simultaneously seems to nod at Simple Minds and Tears for Fears, as well as contemporaries like Nation of Language and others while anchored around deeply introspective, lived-in lyricism.

Directed by Gabriel Stanley, the accompanying video for “Cannon” employs a simple, bare-boned concept: Marksson singing and dancing to the song in a spotlight filled studio and gradually soaked by rain.

“‘Cannon’ is a song about apathy and addiction. It’s about living in a world where we see atrocities unfolding before our eyes, yet choose to willfully ignore or self-medicate because the pain we are witnessing is so overwhelming,” Endearments’ Kevin Marksson explains. “I knew we needed to keep the music video simple and focused on lyrics and movement. Even though I’m not a trained dancer, we worked with an amazing choreographer, Camilia Araque, who really helped me step out of my comfort zone and throw myself into the experience and emotion of the song.”

The Brooklyn-based trio is currently working on their Abe Seiferth-produced full-length debut, slated for an early 2026 release.

Single Review by William Ruben Helms

New Audio: Queens’ THROES NYC Shares Brooding and Sultry “Bridge”

Queens-based duo THROES NYC — cousins Courtney Leo (vocals) and multi-instrumentalist and producer Michael Bozzo — have been making music together since they were children. As teens, their regular haunts were CGBG’s, Roseland and Irving Plaza, where they soaked up the energy and spirit of the ’90s and early ’00s NYC scene.

With THROES NYC, Leo and Bozo blend elements of Indie Rock, New Wave, Pop and Trip-Hop with the energy and spirit of the ’90s and early ’00s NYC scene that they grew up with.

Released earlier this month, the duo’s latest EP HOWL features their latest single “Bridge.” “Bridge” sees the Queens-based duo blending elements of contemporary alt pop, Bristol trip hop to create a broodingly eerie and atmospheric bed for Leo’s sultry delivery.

New Audio by William Ruben Helms

New Audio: Vendredi Sur Mer Shares Atmospheric, Hook-Driven “Si t’étais là”

With the release of her first two albums, 2019’s Premiers émois and 2022’s Metámorphose, rising Swiss singer/songwriter and photographer and Vendredi Sur Mer creative mastermind Charline Mignot quickly established a cinematic sound that features elements of synth pop, French chanson and 80s pop with retro-styled beats paired with her ethereal yet sultry delivery. Thematically her work frequently touches upon romance, sensuality and introspection.

Balancing nostalgia with a modern sensibility, the Swiss artist has won over fans globally through the release of songs like “Écoute Chérie,” “La femme à peau bleue” and “Les filles désirs.” Adding to a rapidly growing profile, she often accompanies her music with mesmerizing visuals.

Mignot’s third Vendredi Sur Mer album, Malabar Princess was released earlier this year to critical acclaim. The album, which features “Arrêter le temps,” feat. Sofiane Pamart; album title track “Malabar Princess;” “Hard,” feat. Hanni El Khatib and “Tout rèsonne” can trace its origins to a writing residency in Montréal and marks a return to the softness and nostalgia of her earlier work. Thematically, the album is nostalgic return to the mountain landscapes of her youth — and a deeper search for self.

Sam Tiba and new collaborators Adrien Gallo and Owlle helped to guide and inform the material’s more organic, intimate sound. The end result is an achingly sincere effort that sees the rising Swiss artist revealing herself fully to the world.

Mignot will be embarking on an 11-date North American tour this upcoming March. The tour includes a March 6, 2026 stop at Elsewhere. You can check out all of her tour dates for the rest of the 2025 and early 2026 below.

But in the meantime, y’all, the rising Swiss artist shares her latest single, the standalone track “Si t’étais là.” Anchored around shimmering, atmospheric synths, propulsive four-on-the-floor, a supple bass line and subtle bursts of twangy guitar, the cinematic and hook-driven production is simultaneously nostalgic yet contemporary, while being a dreamy bed for Mignot’s breathy, mesmerizing cooing.

New Video by William Ruben Helms

New Video: Total Fucking Darkness Returns with Woozily Hypnotic “Give Me Everything You Own”

Electronic music outfit Total Fucking Darkness features: 

The trio have released two singles, which I’ve written about on this site, “Desolation Boys,” and “Take It Easy.” Their latest single “Give Me Everything You Own” is an unsettlingly woozy and hypnotic fever dream that’s one-part Tweekend-era The Crystal Method rave, one-part brooding dream pop and one-part howl into the void.

“We live in a late-period capitalist wasteland where art is devalued and podcasters are the new creative upper class. What a fucking bore,” the trio share. “‘Give Me Everything You Own’ is a reminder of the intrinsic, anarchic power of our music. We made it to feel like a nice cold wet fish slapping you upside the head to remind you not to fall asleep in your own life, that connection matters, that a dancefloor can be the site of rebellion and dissent. Don’t forget that cunts are still running the world…” 

The accompanying video is a flop sweat-fueled fever dream of nightmarish war imagery and brightly colored summery scenes that captures our ongoing hellscape. But all is not lost, y’all. Go to shows, dance floors, theater and meet like-minded souls. Community is always the solution to fascism.

Video by William Ruben Helms

New Video: King Black Acid and Birdie Swann Sisters Team Up on Darkly Seductive “Rats In The City”

Daniel Riddle is Portland, OR-based is a singer/songwriter and musician, who has written and recorded music under the moniker King Black Acid since the late 1980s, while spending time as a member of industrial outfit Hitting Birth. Since the early 90s, Riddle has led a number of different collectives and projects that have toured and shared stages with Elliott Smith, Nirvana, Low, Moby, Sonic Youth, The Dandy Warhols, Faith No More, Dead Moon, Menomena, The Fugees, Arctic Monkeys, Spacemen 3, Danzig, Nine Inch Nails and more.

Throughout his career, Riddle’s music has been featured on CSI: Miami, Buffy the Vampire Slayer, Underworld: Rise of the Lycans, The Mothman Prophecies, Witchblade, Dream With Fishes, Do Me a Favor and CNN Sports, as well as ad campaigns for Nike, Reebok, Tiger Woods Golf, CNN, Coca-Cola, Abercrombie and Fitch, Gap and The Olympics.

Birdie Swann Sisters is a collaborative project featuring:

  • Birdie Moon, a French producer, engineer and musician, who has played with M83, AIR, Beck, The Knife and a lengthy list of others.

  • Daisy Rae Swann, an Icelandic producer and singer/songwriter, who has written and recorded material with acts like Coldplay, Florence and the Machine, Gorillaz and countless others.

The Birdie Swann Sisters met King Black Acid’s Daniel Riddle while working on film soundtracks for television/streaming services. Working remotely and trading sound files, the trio bonded over their mutual love of vintage analog instruments, lo-fi guitars and an emphasis on rare synthesizers and drum machines.

Their initial film and TV score collaborations lead to Dream School Dropout, the trio’s 10-song collaborative album. Sonically, the album sees the trio mixing elements of cinematic 80s dream pop, 70s soul and R&B, yacht rock and psych rock into a lush, dreamy tapestry.

Dream School Dropout‘s latest single “Rats In The City” is a slickly produced, hook-driven, club friendly bop featuring glistening and oscillating synths and skittering boom bap that brings Evil Heat-era Primal Scream, Tame Impala, POND and even Midnight Juggernauts to mind paired with darkly seductive, somewhat menacing lyrics.

The accompanying video is a slickly edited mashup of B movie footage, stock footage and psychedelic imagery pulsing and undulating to the song’s propulsive beat.

Single Review by William Ruben Helms

New Audio: JOVM Mainstays Allegories Return with Atmospheric and Shoegazer-like “Baker’s Lung”

Since the release of 2022’s Endless, the Canadian experimental pop duo and JOVM mainstays  Allegories — childhood friends Adam Bentley and Jordan Mitchell — have released a growing collection of standalone singles.

Earlier this year, the duo shared “DREAMCRUSHER” and “Stay Out Of The Basement,” the first two of a series of singles that originally started out as a bare-boned ukulele sketches that were gradually transformed into idiosyncratic electronic sound sculptures.

“Baker’s Lung,” the third single in the Canadian duo’s ongoing ukulele sketch series is a lush, dreamily ruminative track that sees the JOVM mainstays pairing introspective lyrics focusing on the inevitability of morality, the search for meaning in the face of mortality and the always elusive pursuit of fulfillment with swirling, shoegazer-like electronic and acoustic instrumental textures.

As the duo explain, the song sees the duo asking several questions: As you imagine the future, how do you build when the foundation of what you thought mattered no longer fills that space? What do you do when your time is consumed by the hours of a career — especially a career that’s not super fulfilling or what you’ve dreamt of doing? Can you just contemplate everything to death? Or can you follow the breadcrumbs to fulfillment, maybe even enlightenment? Probably not. But it’s worth asking. And worth trying.

The result is arguably, one of the duo’s more cinematic and otherworldly songs — while retaining the uneasy quality that they’ve been known for.

Video by William Ruben Helms

New Video: Allegories Shares Broodingly Eerie “Stay Out Of The Basement”

Since the release of 2022’s Endless, the Canadian experimental pop duo and JOVM mainstays  Allegories — childhood friends Adam Bentley and Jordan Mitchell — have released a growing collection of standalone singles, including the first cover of their history, their take on Talk Talk’s 1984 smash-hit “It’s My Life” and “DREAMCRUSHER.“

The duo’s latest single “Stay Out Of The Basement” sees the duo mischievously blurring the lines between playful fantasy and broodingly eerie undertone, anchored around Bentley’s plaintive Thom Yorke-like delivery ethereally floating over a minimalist production featuring skittering beats and swirling. reverb-soaked, shoegazer-textured synths. The song evokes the simultaneous feeling of snuggling in a warm blanket — but then feeling something grab at your toes.

“‘Stay Out Of The Basement’ is the second in a series of songs that started on ukulele—but this one took a left turn. I wrote the original idea, dropped it into Pro Tools, and handed it off to Jordan. Usually, we keep parts of that first take—vocals, lyrics, melodies—but in this case, none of it made the cut.

The original version had solid ideas, but it didn’t fit the new direction. The vibe, the vocal phrasing—it just didn’t connect. So we started fresh. What you hear now is entirely built around Jordan’s instrumental, and the final vocal fits it naturally.

Each song in this series lands somewhere different. Some stay true to the original demo, others evolve into something completely new. ‘Stay Out Of The Basement’ is one of the rare ones that left the ukulele version behind entirely.”

The accompanying visual features the duo performing the song in studio, as reel-to-reel tape machines run.