Simple yet effective synth-pop

Annie Hart, a synth-pop artist based in New York, recently released her fourth album The Weight of a Wave. While she branches out as a solo artist, she is also part of the trio Au Revior Simone that has records showcasing captivating imagery, soft vocalizations and the versatility of synthesizers. These qualities are seen in Hart’s new solo record too, along with her intimate sound, DIY punk roots and proficiency on analog synths. The Weight of a Wave speaks on relationships, mental health and the power of personal growth.

The opening track “Boy You Got Me Good” features a fast drum beat, soft synths that mimic an electric guitar and rumbling bass. Hart’s vocals fluctuate from quiet to loud in the verses and eventually swell in the chorus as she says “You got me, boy you got me / Now you got me good / If you’re thinking what I’m thinking / Now you’ve understood.” With these words sung, the synths shift from soft to prominent. The next track, “A Crowded Cloud,” starts with repetitive muted drums and gentle vocals, giving the verses an eerie energy. The synth is reminiscent of the ‘80s with its soaring, pixelated sound while Hart’s vocal performance during the chorus is straight out of a ’90s punk band.

In comparison to the previous songs, “I Never Do” has a gentler feeling. The acoustic guitar, tambourine and rhythmic clapping are endearing, but the lyrics change the tone to bittersweet. Hart asks “Why do I keep calling you? / Why do I keep giving you chances that you never ask for?” and then states “I think I’ve got something wrong with me.” “A Lot Of Thought” has a similar feel in regards to the message. The glistening synths sound electric and the cowbell adds to the groovy, flowy rhythm of the lyrics “While you wallow in the waters with the hunger of a bear / And you follow in the footsteps of another wasted year.”

“What Makes Me Me” is quite upbeat with its cutesy piano melody and tranquil imagery of “pink stones and warm sand.” The xylophone and harmonica solo at the end add even more to the track’s peacefulness. Going back to her punk roots, Hart’s piece “Stop Staring At You” consists of blunt, frustrated vocals as she talks about a toxic yet alluring relationship. She explains “Fame is what you’re chasing / But you just go on wasting it / Sacrificing answers with satisfying space in them.” The fast bass drum effectively highlights Hart’s frustration.

Hart’s proficiency with analog synths shines in “Falling.” It sounds as if each element of the instrumentation comes from synthesizers with 8-bit sounds and muffled, looping drums. The pitches of the words sung in the chorus are executed cleverly. When she sings “And baby if you’re falling, will you fall / down with me?” the vocals start off on higher notes and then go down a scale, signifying a fall. The record concludes with “While Without.” The splash of high piano notes included in the background, which sound like glasses clinking, nicely complements the wavering synth. The simplicity of the track and the rawness of Hart’s voice exudes vulnerability, especially when she says “You’ve been hiding, I’ve been seeking.” The yearning presented through the lyricism makes for an emotional ending to the album.

The Weight of a Wave shows just how talented Hart is at creating atmospheres utilizing a minimalistic approach. Hart’s delicate yet edgy voice and the light melodies make for a self-reflective and, at times, emotional experience as she discusses common struggles people face.