Jai Paul, the UK R&B/pop artist, gained crazy buzz after releasing the single, “Jasmine,” last year.  However, it looks like the man that had a hand in crafting Jai Paul’s unique sound was his brother, A.K. Paul.  A.K. has decided its his turn to take center stage with the release of his smoky 80s synth track, “So Good.” With the help of fellow Brit, Nao, and her pixy-like vocals, “So Good” is exactly that.  Enjoy.

“Days Without You” is the second team-up for singer Sinead Harnett and R&B producers Snakehips.  The London producers really can do no wrong, capturing the aura of 90s R&B while interlacing it with modern synths and effects.  For producers that rely heavily on electronics to craft their melodies, there is no loss of emotion or intimacy with any of their tracks.  Whether it’s with their earlier releases, “On & On” and “No Other Way,” or their newbie, “Days Without You,” Snakehips can put together a track that makes your heart swell.  And having Harnett balancing out those computers with her young, energetic intonation sure can’t hurt.  Enjoy.

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“Harlem” is the shiny, swirling, second single from the impressive duo, Cathedrals.  Based out of San Fran, this male/female twosome have shown range between the three tracks they’ve released over the past few months.  “Harlem” is by far the catchiest, most impressive of the three, blending standard pop elements with R&B, a southern hip-hop beat at the latter part of the track and a scathing guitar riff that tears through the track when its least expected.  With so many surprising elements working in such harmony, “Harlem” succeeds in keeping you on your toes. Enjoy.

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Sometimes, simplicity just works best.  Just look to the electro pop “Standing In This Dream” by Parisian duo, My Dear.  The track and verses are sharp, clean and far from complex, looping consistently.  But thanks to the skill of Raw Man, one half of My Dear, the track never feels repetitive.  This is a perfect track for summer and is making waves at just the right time.  Enjoy.

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There’s a pretty good chance that at some point I will be posting every song from DWNTWN’s self-titled EP, released earlier this year.  The quartet have produced a library full of EPs, singles, and covers over the past few years but have honed their synth pop skills and with the new 5-track record, emerge as musical transcendence.  Every track off the EP is a subtle play of emotions, gently layered instruments, and soft vocals that seem to consume your surroundings like a mist.  “Skins” is a perfect example of the vaporous aura that the voices of Jamie Leffler and Robert Cepeda softly thread through a track laced with muffled drums, guitars and delicate electronics.  Yeah, DWNTWN is pretty good.  Enjoy.

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Scoop “Skins” here

Magic Man are building up a lot of momentum in anticipation for their 2014 debut album, Before the Waves, due out on July 8, 2014.  The indie pop group has spent 2013 wetting our appetites with a few tracks off their first EP, You Are Here.  With the brand new record only weeks away, let’s focus on “Paris,” the track that started it all.  The debut single is an indie pop burst of energy with the dramatic verses leading to catchy, volcanic hooks that explode at every chorus.  Now that Magic Man have taken us to “Paris,” I can’t wait to see where they take us next.  Enjoy.

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I’m typically not a fan of remixes but when a few of my favorite electronic producers put a spin on a Destiny’s Child song, it’s almost impossible to resist.  Cosmo’s Midnight, the duo that expertly chopped up Aaliyah’s “Are You That Somebody” into the synthesizer blasting “The Dofflin” has set their sights on Beyonce and the gang with their fizzy version of “Say My Name.”  The track starts off like some 80s aerobics theme with vocals shooting out at breakneck speed.  Where the song really pulls you in, though, is when it grinds to a slow jam at the chorus, putting a lush spin on a track that we never even knew needed it.  If this is the start of some R&B remix trend for Cosmo’s Midnight, then it looks like I’ll be posting a lot more remixes than I ever planned.  Enjoy.

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When we think of synth pop imports, we typically think of Sweden or Australia.  Finally, Poland is bringing something to the table with the subtle, dreamy Oxford Drama.  Comprised of duo Małgorzata Dryjańska and Marcin Mrówka, Oxford Drama has released a promising debut EP consisting of four vaporous, understated electronic tracks with sleek rhythms and bewitching electronics.  Even more impressive is that the EP was produced by the newcomers.  Of all the songs, the self-titled track off the self-titled EP is the most impressive.  We’ll even give them a pass for saying their own band name in the song, which is a luxury typically saved for rap groups or Sublime and 311 (for those who went to college in the ’90s).  Enjoy.

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X Priest X simply describe themselves as “the project of Madeline Priest and David Kazyk.”  No other description provided.  And none needed when their music is this crisp, sharp and engaging.  The Orlando duo are pretty new to the scene but have been swirling a bit of buzz over the past few months, especially after the April 15th release of their debut EP, Samurai.  The single of the same name, off the 4 track record, is what you hope synth would be: lush electronics, metallic blips, and Priest’s pixiesh vocals.  The EP is solid throughout, but give “Samurai” a listen first.  It’ll be the wisest decision you make all day.  Enjoy.

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Every track that Bobby Allen a/k/a Young Summer releases is just further proof that she was born in the wrong era.  The depth and expansiveness of her voice, its confidence and maturity, is akin to the great female singers from the 70s and early 80s.  I feel like I always compare Allen to Stevie Nicks and Grace Slick but I just can’t help it.  Allen’s voice is that commanding.  Her most recent track, “Taken,” again combines that foregone era of music with current synth structures, creating a palate of different tones and emotions that are relevant no matter what time period you end up listening to it.  Enjoy.

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Scoop “Taken” here