Top 10 Best Synthwave Songs

#10: “Don’t Make Me Wait” feat. Stewart Lockwood (2018)

Duett

The term “Synthwave” can encompass many different moods, feelings and aesthetics. “Don’t Make Me Wait” is a collaboration between producer Duett and vocalist Stewart Lockwood, and it ticks a lot of stylistic boxes. For starters, there’s a grand, ‘80s New Wave feeling to the melody lines. This is chilled-out music, soaring lightly on the drum programming and luscious sounding synths. Meanwhile, Lockwood’s impassioned vocals allow “Don’t Make Me Wait” to stand out from the often crowded Synthwave pack by lending it an emotional resonance. The guitar accompaniment near the end adds to the track’s atmosphere, while Lockwood hammers home that money chorus for all he’s worth.

#9: “Neon Rain” (2016)Paradise Walk

The cream of Paradise Walk’s expert songcraft rises to the top in a song like “Neon Rain.” This U.K. duo possesses the ability to instantly transport listeners into their cinematic landscape. “Neon Rain” is the sort of song that wouldn’t sound out of place during a romantic ‘80s movie montage, or during the opening credits of a film that may or may not exist. It feels simultaneously retro and fresh, even setting off some mild R&B vibes with the vocals. That saxophone, however? Well, it’s the secret weapon of “Neon Rain,” a totally evocative solo section that kicks the song into overdrive. It helps make Paradise Walk feel like not just a good band, but a great band.

#8: “Maleficarum” (2016)GosT

Synthwave often crosses over into a variety of genres, including the realms of extreme heavy metal. GosT is one such act, even signing a worldwide deal with Metal Blade Records in 2023. “Maleficarum” makes it very clear how such a crossover could occur, since it’s as dark and attacking as any death or black metal act. The blasphemous cover art of GosT’s “Non Paradisi” album from 2016 reflects how the song “Maleficarum” sounds like a sonic assault. This is harsh decibel-torture with an artist’s touch that’s infectiously catchy one minute, and barbarically heavy the next. Synthwave has ventured into adventurous places in the past, but perhaps none are as bleak as GosT’s dramatic hellscapes.

#7: “Axe to Grind” (2017)Street Cleaner

It isn’t exactly uncommon for Synthwave producers to invent an alter-ego to tell their musical stories. This lends an ambitious songwriter an even more imaginative palette with which to compose. “Axe to Grind” is a great example of how San Diego producer Jesse Bishop (a.k.a. Street Cleaner) is able to bleach crime-ridden streets as the fictional vigilante cop, Jack Slade. The spirit of exploitation cinema from the 1970s and ‘80s lives on within the Street Cleaner, and “Axe to Grind” is the proof. Doomy synths lurch forward like shadows along filth-caked city walls, while the propulsive beat strikes like Slade’s fists of justice. It’s a perfect soundtrack to defending your home turf…one perp at a time.

#6: “Roller Mobster” (2013)Carpenter Brut

Carpenter Brut is one of those names that’s largely escaped the occasional confines of the term “Synthwave.” This has been achieved by Franck Hueso’s consistent ability to reinvent himself creatively, whether it’s through songs like “Turbo Killer” [xref] or “Beware the Beast.” [xref] “Roller Mobster” is taken from Hueso’s early years, however, and adopts an almost black metal aesthetic to its sonic attack. The song starts off quietly enough, before erupting into a dizzying, kaleidoscopic wall of sound. The effect is disorienting and psychedelic, yet strangely danceable. Maybe “Roller Mobster” sounds like what they play in Hell when they feel like getting down.

#5: “Venger” feat. Greta Link (2016)Perturbator

James Kent is another Synthwave musician with ties to the extreme metal scene, bringing this approach with him to this much-lauded project known as Perturbator. Anime films and cyberpunk culture have also served as influences to Kent’s work, and these can be heard in songs such as 2016 “Neo Tokyo.” [xref] “Venger” is from the same period, a sleek ‘n sexy number full of intrigue and sinister intentions. Greta Link’s vocals on the track are evocative, providing melody while also serving an ambient purpose with her breathy delivery. “Venger” is music for ghosts, a spirited exercise in world-building synthesizer worship as high art.

#4: “Tech Noir” (2015)

Gunship

There are a lot of musicians and producers that try their hand at creating Synthwave music, often with varied results. It’s a style of music that can be composed solo or in a group, and it’s the latter approach that seems to work the best for Britain’s Gunship. “Tech Noir” is named after the club scene from director James Cameron’s first “Terminator” film, a sequence that’s served as a huge influence for many Synthwave artists. Yet, Gunship never feels reductive in their approach, since “Tech Noir” overcomes mere ‘80s fetishization to feel wholly natural and respectful of its source material. The song drifts at a leisurely mid-pace, locking into that groove as the vocals offer praise at the altar of Schwarzenegger, synthesizers and neon.

#3: “Call Me” (2016)LeBrock

The British Synthwave duo known as LeBrock proudly wear their influences on their sleeves, and are willing to shout it out LOUD from the rooftops. Specifically, it’s the voice of Shaun Philips that sings the message of LeBrock with such strength and passion. Songs like “Please Don’t Cry” [xref] and “Call Me” are equal parts AOR, ‘80s Heavy Metal and synthesized passion; truly EPIC, stadium-sized bangers. The heavy lead guitar work only adds to the gleaming power of this song, and many others. LeBrock may be named after famed ‘80s icon Kelly LeBrock, but they’ve proven beyond a doubt that they’re no mere nostalgia act.

#2: “Running In the Night” feat. Ollie Wride (2016)

FM-84

Synthwave has, over the years, incorporated more and more vocals into the mix. Ollie Wride’s performance on FM-84’s “Running in the Night” is arguably one of the finest examples of how a talented singer can elevate a great song into the realms of perfection. The echo on Wride’s vocals lends a plaintive, almost desperate sentiment to the song, while Col Bennett’s songwriting combines sublime ‘80s pop music with cinematic end credit energy to create an effect that approaches tear-inducing. “Running in the Night” tugs at the heartstrings, and makes us yearn for youth, life and a second chance at first romance.

Before we unveil our top pick, here are a few honorable mentions.

“Robeast” (2013), Dance With the Dead

Synthwave with a Hard Rock Soul

“Red Eyes” (2016), Zombie Hyperdrive

Capital E EPIC

“Shadows” (2017), The Midnight

A Slow Burn That’s Worth the Wait

“Control” (2018), Michael Oakley

Banger Locks into a Fantastic Groove

“Overdrive” (2010), Lazerhawk

An Earlier Blueprint for Synthwave

#1: “Nightcall” (2010)Kavinsky

Synthwave made the big time, and for many fans, their first exposure was Kavinsky. The “Drive” soundtrack from 2011 really supercharged the Synthwave revolution’s popularity. There’s no denying that many more eyes and ears were listening to “Nightcall” by Kavinsky after this film was released. The song’s mid-pace feels almost threatening, as the vocals switch between effects-laden menace and sweet seduction. Vincent Belorgey certainly seemed to strike gold with the Kavinsky concept, and it was songs like “Nightcall” and the College-Electric Youth collaboration “A Real Hero” [xref] that helped cement the “Drive” soundtrack as ground zero for synthwave appreciation.

Are you new to Synthwave? What’s your favorite aspect about this fascinating genre? Let us know in the comments!