REVIEW

The 6th album from Los Angeles synthwave duo The Midnight.

Formed in 2012 by producer/composer Tim McEwan and singer-songwriter Tyler Lyle, the duo first defined their signature on “Endless Summer,” merging 1980s-leaning electronic textures with emotive vocals and lyrical saxophone. While early synthwave was largely instrumental, Lyle’s presence has often been cited as a defining factor in bringing a more song-driven dimension to the genre, helping establish the project as one of its central acts.

In recent years, The Midnight have expanded their palette through the “Kids” trilogy—“Kids,” “Monsters,” and “Heroes”—incorporating elements of lo-fi and ’80s rock. This latest work appears to synthesize those explorations, balancing a broader stylistic reach with a noticeable return to the atmosphere of earlier releases such as “Endless Summer” and “Nocturnal,” ultimately functioning as a cohesive summation of their trajectory.

This direction is best exemplified by the lead single, #15 “Love is an ocean.” Over a pulsing electronic beat, synthesizers shimmer like starlight reflecting on a midnight sea as Tyler Lyle’s smooth vocals refrain. The arrangement reaches its peak after a break, where a melancholic saxophone cuts through the silence—a signature move that remains their true essence. It serves as an ideal introduction for those encountering their music for the first time.

A melancholic atmosphere permeates the remaining tracks, strengthening the album's cyber-punk worldview. Several songs particularly lean into their early aesthetic. #3 “Runaways” is a dance tune featuring guest Bonnie McKee, whose powerful yet transparent vocals sing of a thirst for freedom. The uplifting saxophone in the final stretch is particularly striking and will likely resonate with fans of the “Nocturnal” era.

#12 “Fatal Obsession” features Jupiter Winter, using a downtempo, sorrowful ensemble to depict the shadows of romantic obsession. The restrained saxophone accompaniment adds depth to the melancholic mood. Jupiter Winter, the duo of Lelia Broussard and Royce Whittaker, has notably become a key collaborator in both the production and live performances of The Midnight in recent years.

However, the album suggests more than just a nostalgic retreat. On #10 “First Night in Paris,” featuring dark synth heavyweight Carpenter Brut, the duo delivers an aggressive assault of heavy bass and sharp beats. This is followed by #11 “Afterglow pt. 2,” which introduces the sharp rhythms of drum and bass, showcasing an approach that transcends traditional synthwave frameworks.

#16 “Sanctuary” is a grand ballad that evolves from a piano accompaniment into a multi-layered synth symphony. Progressing in 7/8 time before shifting into a dance beat, the track feels vividly cinematic. The line “Hold me til the world fades away,” delivered through a trembling vocoder, sounds like a final message archived by humanity in a collapsing world.

The closing track, #17 “Summer’s Ending Soon,” concludes the narrative with soft vocals that ripple like a calm sea. The title appears to signify a milestone in the journey that began with their debut, “Endless Summer.”

With sophisticated production, diverse arrangements, and matured vocal performances, this work reaches a peak in their career quality. By reconstructing their early sound while pointing toward new horizons, it offers a potential future for a genre that can sometimes fall into formulaic patterns. Like the neon lights of a city, their sound continues to cast a hopeful glow.

It is also worth noting that they have moved beyond the typical constraints of the genre by evolving into a full-band live act. While there are currently no scheduled performances in Japan, it is hoped that this work will serve as a catalyst for their sound to reach a wider audience across the region.