SINES – ‘Gravity’

Loosely inspired by the futuristic writings of Philip K. Dick, Gravity succeeds in its spacey synth-pop engrossment, marking a convincing success from SINES, the project of Jason Wann and Kitty Richardson. Based out of Portland (Oregon) and Leeds (UK), respectively, Wann and Richardson combine their talents on an album full of aesthetical pop range — from the industrial ’80s suaveness of “We Become Electric” to the title track’s more modern pop shine.

The duo have yet to meet in person, though produce a very fruitful collaboration here nonetheless. Wann — a producer, composer, synth enthusiast, and DJ — builds a ravishing atmospheric allure alongside Richardson, whose skills as a singer/songwriter and visual artist shine through as well.

The album compels in relaying personal emotions and experiences alongside the glitzy pop production. “For me, the most exciting thing about Gravity is the fact that the whole “spaceman lost in space and then returning to earth” story is a perfect allegory for my experience with autism and trying to navigate the neurotypical world,” Richardson explains. “I think my main goal for my music is to communicate to others a feeling that I’m unable to express using only words.”

Another highlight, “Dirty Lies” struts a bursting electro-pop charisma that reminds of the collaborations between Röyksopp and Robyn. Elsewhere, “Silhouettes” casts a spell with its haunting balladry — remarking “forbidden fruit shouldn’t be so cute,” in its eerie yearning, while the closing “Obsessed” ruminates on a humanity in a sense of ruin, contemplating where things went wrong in a narcissistic era. Gravity enthralls in its range of societal, thematic introspection and spacey pop-forward immediacy.

“Gravity” and other tracks featured this month can be streamed on the updating Obscure Sound’s ‘Best of December 2023’ Spotify playlist.

Mike Mineo

I'm the founder/editor of Obscure Sound, which was formed in 2006. Previously, I wrote for PopMatters and Stylus Magazine.

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