Spectacular synths dominate a deliberately straightforward arrangement, their crisp, glossy production joined by a driving drum machine and unmistakable flashes of 80s nostalgia. There’s a darkwave influence running beneath the neon surface, but ‘Dancing (With What’s Left)’ remains firmly rooted in synth-pop, keeping its focus on a clean, danceable groove rather than overloading the track with unnecessary details.

Detalji’s self-described “gothic voice” provides its most unusual element. Rather than the detached delivery often associated with darkwave, their vocal becomes operatic and theatrical in places, bringing drama to the otherwise streamlined production. The contrast works beautifully: anxiety and escapism sit beneath music that feels polished, vibrant and made for movement. Sometimes dancing doesn’t solve what’s left — but for a few minutes, it offers somewhere else to put it.

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At just over two minutes, ‘Turning Red’ is remarkably minimalist. A low, growling bass dominates, revving beneath finger snaps as repetition, texture and attitude take the place of conventional melody. Extra percussion gradually creeps into the arrangement, but Maria Ria leaves plenty of empty space around her detached, sensual vocal. Chopped and fractured into the production, her delivery becomes another rhythmic element, while flashes of Swiss German add another distinctive layer. There are shades of Rosalía in its fearless minimalism and rhythmic experimentation, without feeling derivative.

The repeated ‘baby boom’ refrain eventually takes over almost completely, pushing that rhythmic approach to its logical conclusion. Strange, confident and deliberately sparse, ‘Turning Red’ feels less like Maria Ria cautiously introducing herself and more like stealing the room on arrival.

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‘A Violent Power’ takes the lead with a driving beat and a magical array of analogue synths, settling into a groove somewhere between new wave and darkwave without belonging completely to either. There are traces of Kraftwerk, Tubeway Army and Devo in its retro-futuristic DNA, but Danz CM makes the sound entirely her own. Brightness and darkness exist side by side, with an underlying flicker of anxiety preventing its more buoyant moments from becoming entirely carefree.

‘Bontempi Pop 3’ slips into more atmospheric territory. Breakbeats and the distinctive sound of its Italian toy organ create a hypnotic, trip-hop-inflected counterpart to the first track, proving that unusual instrumentation doesn’t necessarily need to result in something deliberately difficult. Together, the two songs make natural companions: different in character but unmistakably inhabitants of the same strange, synth-filled universe.

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Sitting somewhere between electronic pop, hyper-pop and experimental art-pop, ‘As Per My Last Email’ begins relatively slowly before steadily accelerating as the pressure mounts. NOIA’s vocal undergoes its own transformation alongside it; initially sounding drained and exhausted, her distinctive Catalan-accented delivery becomes increasingly frantic while robotic processing adds another layer of detachment. Electronics begin to glitch and collide, rhythms grow more restless and what started relatively controlled gradually descends into wonderfully frazzled chaos. It’s an incredibly effective piece of sonic storytelling, capturing the sensation of an overworked brain with far too many tabs open until the whole system finally begins to malfunction.

NOIA describes the track as “the slow collapse of hyperfunctionality”, where a person becomes “a broken, over-wired robot still sending polite replies”, and its magnificent accompanying video takes that absurdity even further. Office furniture is transplanted into forests and onto beaches as NOIA continues attempting to work, creating a world that is simultaneously dystopian, surreal and brimming with dark humour. Watching the boundaries between work, life, nature and machinery completely disintegrate feels ridiculous – until you realise just how little exaggeration is actually involved. ‘As Per My Last Email’ is weird, witty and increasingly unhinged, turning the horrors of being permanently “on” into one gloriously glitchy nervous breakdown.

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The track — another storming, club-ready single — sees TSHA debut her own vocals on a track for the first time. Explaining how it came together TSHA says: “Me and my partner were in the studio together, about to write something. He was getting on my nerves, and we ended up having a little argument, and I was like, ‘Can you get out of the studio?’ He left and I just started writing, feeling a bit blue, and It just came to me. I had this chord progression and a drum loop, and I wrote the first line [“I don’t know what they mean when they say things are green on the other side / I’ve lived a thousand lives in my 31 years, I’ve cried a million times”]. I ended up reproducing it a bit and adding in that funny little horn sound, and ultimately making it a dance track, because I wanted for people not to realise where it’s going. It’s quite a nice little surprise. ‘Cos I didn’t want it to sound depressing, even though the lyrics are.”

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Glasser uses entrancing and dreamy experimental pop to explore themes of personal identity, emotional vulnerability, and the human experience. New single ‘Om’ is about letting someone go, and loving them from afar.

“’Om’ is a track that I wrote when I was bursting with new songs after the death of my friend Noah”, she says. A subject matter examined closely on the original album. Glasser has previously stated that; “my first love from back home died suddenly and I watched his burial on Zoom. He showed me so many first things in life, and he was the first close person to me to die, that I felt so mentally, physically, and emotionally connected to.”

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The artist had this to say on the album: “I was working on a dark, atmospheric electronic record for nearly a year and a half following the release of my first album Us Ephemeral. Throughout this time, so many things started shifting in my life and the world as a whole. At the beginning, translating my heavy emotions into dark, driving and enveloping electronic soundscapes made sense. It felt like a fluid, natural catharsis. But by the second half of 2023, the world started feeling unbearably paralyzing. Between the loss of significant friendships, livelihood uncertainties, and the violence happening in the world, it was all too real and my mental health was significantly waning for the first time in years. At this point, I had no coping mechanisms to really get me by, except for my own nostalgia. I started listening to guitar centric music again and started gravitating towards my guitar over my VST’s whenever I managed to get down to my studio. It brought me back to a time where things felt simple, unaffected, warm and textured. It gave me a sense of connection within my deep isolation, a feeling of “home” on unfamiliar land.”

“‘Eternal’ is about the struggle to achieve a ‘sentimental life’ amidst so much greed, destruction and uncertainty in the world” she continues of the new single. “It’s about feeling trapped in a rat race that you never signed up for, longing for life’s basic joys. It’s also about choosing to let go, despite every fiber of your being wanting to stay enraged and grief-stricken. Transcending the ego to achieve a sense of universal presence and unity.”

This Infinite:

1. Eternal
2. Spill
3. This Infinite
4. Bliss Beat
5. Realize
6. way i luv
7. Careless
8. Palisade
9. Get In Girls (ft. Pearly Drops)
10. In Finding
11. End of Forever
12. Something in The Air

The post Vitesse X announces sophomore album This Infinite & shares new single/video ‘Eternal’ appeared first on She Makes Music.

Speaking on the release, Jazzi Bobbi shares; “‘Find Something New’ is about a moment of clarity in a period of confusion. The lighthearted uplifting feel of the music reflects the sense of positivity in self discovery even within an inherently negative subject.”

The joyous, elevating soundscape of ‘Find Something New’ perfectly mirrors the sense of optimism that comes with finding your path, even in the face of challenging circumstances. The new single showcases Jazzi Bobbi’s signature style, characterised by a fusion of electronic beats, soulful melodies, and contemporary jazz influences. It is a testament to her versatility as an artist and her dedication to pushing musical boundaries.

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‘My Reflection’: threaded on a portentous thrumming beat around which melodic tumbling piano phrases shimmer, entwined with a sweet breathy layered vocal, creating an air of melancholy, nostalgia and mixed emotions – ‘you’re still the coin in the air’. A heartstring tugger, full of feeling and beauty, this track is a true representation of them as artists.

“‘My Reflection’ is a dream for the one that one got away… it is about being consumed by a person or feeling you cannot shake. It is blurring the lines between what is real and what is not – is it something you should let go of, or is it something worth fighting for? It is playing things over and over in your mind, every fleeting glimpse feels like a reflection of their lingering shadow,” say the duo.

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It’s a trend that continues with the release of new single ‘Girls’, a proper club anthem “for the girls and gays” to soundtrack messy nights, buoyed up by electro production and an earworm hook sung by Rose Gray: “it’s my body it’s my mind”.

Sad Girl sees TSHA welcome a new era, one where she’s putting her own vocal stamp on tracks and approaching the genres she’s always wanted to, rather than seeking approval from her peers. Beyond showcasing just the euphoric or melancholy sides of her character, TSHA puts it all on display. It’s a body of work that shows it’s OK to be sad, and you can even revel in it – you can’t have the highs without the lows, after all.

It’s the second full-length from the fast-rising UK star, and follows 2022’s debut album, Capricorn Sun, which was built on bright, melodic house foundations, bringing in UK garage and rave sensibilities.

Sad Girl:

1. Sad Girl (feat. Dan Whitlam)
2. Girls (feat. Rose Gray)
3. In The Night
4. Can’t Dance (feat. Master Peace)
5. Green
6. Sweet Devotion (feat. Caroline Byrne)
7. Lonely Girl
8. In Bloom (feat. Abi Flynn)
9. Azaleas (feat. Ingrid Witt)
10. Take
11. Drive (feat. Ingrid Witt)
12. Fight

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