Synth-aesthetica: synth pop, indie electronic & other synthethic beauty

Meet Me At Midnight is Kim Cameron's latest house record written in collaboration with Turkey's number 1 hit maker Serkan Demirel. At 128 BPM, this begins with suspenseful climb, just like a chance encounter in a dark dance club.
By the hook, the story and the record transform into a mega bass vibe filled with romance. This record is accompanied with jumping remixes by Brazil's Macau. The mixes relay heavily on huge drum and bass lines with a synth that lasts forever.
The release includes an AI generated cover
and a surreal 3D music video featuring many of
Kim's long time friends. The music video was written and produced by Kim Cameron her self and really tells the story of the record.

Meet Me At Midnight

Will You Remember Me?

Our Penance

Crowdfinding

Maybe I'll Stay in a Different Shadow

Forever but Nevermore

Deny

Chaotic Neutral

Best Life

Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

Them!

Too Close For Comfort

Cannon

Going Under

We're Not Suburban

GHSTMEAT’s new single “Social Life (Core)” is a darkwave reflection on connection and isolation in the digital age. Centered around the lyric “I picture a social life where I can hide my deepest darkest thoughts from whoever I want,” the track captures the unease of living behind a curated identity. Hypnotic synths and post-punk minimalism make it a natural fit for playlists featuring Cold Cave, Boy Harsher, and Depeche Mode.

Social Life (Core)

This Bright Circumstance (Matt Mancid Remixes)

The Last Time (Matt Mancid Remix)

Back In Time

Listen/download ➤ https://ffm.colortheory.com/thisbrightcircumstance

My second collaboration with A Days Wait, “Empty Promises” is a bittersweet song about home, leaving, and the promises we make along the way.

EMPTY PROMISES

It feels like my very first time away
Making empty promises again
And I see you hanging around all day
I was trying to keep you safe

It seemed like we should've had it all
But it looks like we should go

Coming back around again
On the road back home
Thought we'd make it out alive 
But I was losing hope

It's not the very first time I've said
I don't feel like growing up
Now I see you hanging around my head 
and I know what that's about

We won't make it on our own 
If we fall apart
We’ll muddle forward to the tune
Of a beating heart

It feels like the very first time away
It's just like my very first time away
It feels like my very first time away
Making Empty Promises

COLOR THEORY
@colortheory
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Empty Promises

From Grimes' "Visions"
Arbutus Records 2012

Visions

Oblivion

Grimes - Oblivion

american dream

oh baby

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The Bones Of What You Believe

The Mother We Share

Synth-aesthetica: synth pop, indie electronic & other synthethic beauty

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