Polish electronic project LOVER arrive with “Technicolor”, released on 31 January 2026. It is chasing atmosphere, memory, and the kind of cinematic ambition most modern electronic records have quietly abandoned.
“Technicolor” is a ten track conceptual work written as a single narrative. Brylewski describes it as a soundtrack to a film that never existed, and crucially, it actually sounds like one. Each track functions as a chapter rather than a standalone single, unfolding patiently, often cinematically, and always with intent.
The reference points are worn proudly on the sleeve, but never copied. You hear the shadow of Tangerine Dream and Klaus Schulze in the sequencing and hypnotic momentum. The cold futurism of Kraftwerk hovers in the architecture. Melodic sensibility nods to Jean-Michel Jarre, while the darker corners owe a debt to John Carpenter and the modern cinematic weight of Hans Zimmer.
But “Technicolor” refuses to be a museum piece. Guitars and live drums cut through the synthesisers, pushing the album into rock territory without diluting its electronic core. This hybrid approach gives the record emotional muscle, not just aesthetic nostalgia.
The horror and science fiction influence is not cosmetic. This is the language of classic genre cinema and video game worlds, from Mass Effect to Cyberpunk 2077, translated into sound. It is moody, slow burning, occasionally ominous, and deeply visual.
There is also a quiet ideological stance running through the record. “Technicolor” is openly framed as a rejection of TikTok culture and algorithm driven consumption. This is an album that demands time, attention, and headphones. It believes in sequencing, tension, release, and emotional continuity. That alone makes it feel slightly radical in 2026.
The emotional centrepiece is “Love In Technicolor”, both the oldest and newest composition on the album. Unearthed from Brylewski’s archives and reworked for the project, it explores the uneasy romance between humanity and technology. Simple synth themes stretch and evolve, joined by cinematic drums and guitar solos that openly flirt with unlikely bedfellows. The influences here are deliberately strange but surprisingly coherent, Jean-Michel Jarre, Pink Floyd via David Gilmour, Hans Zimmer, and even Metallica. On paper, it should collapse. In practice, it holds.
“Technicolor” will resonate with fans of Berlin School electronica, film and ambient music listeners, progressive rock audiences open to experimentation, and gamers raised on narrative driven soundtracks. It is nostalgic without being regressive, cinematic without being hollow, and proudly album focused in an age that barely remembers what that means.
Tracklist:
01. The Exaltation
02. Aura Serpentine
03. Encounters
04. The Vanishing
05. And Her Birds Sang Death
06. March Of The Dead
07. Nigh Was The Black Dawn
08. Love In Technicolor
09. The Inhumane End
10. Now Fade
