Susan Style is a Taiwanese producer and singer-songwriter based in London, writing and producing her own material and treating this debut as a personal record shaped by leaving Taipei for London. She also worked with Max Heyes on the mix, a detail that matters here because these tracks move between club-ready drums and stranger, more detailed textures.
“The Hope from the Dream” opens with a downsampled pad and spoken-word vocal, then packs the stereo with noise and suspenseful synth strums before an arp shows up. When the beat drops, it leans house, with 90s-style Triton pads and vocals used like atmosphere and ad-libs. It’s a strong mission statement for the album’s approach, pop structure, experimental surface.
“The Song Sung by the Stars” goes straight into a 4×4 beat and long house piano chords. The vocal turns more melodic here, another arp enters, and the chord changes give the track a cinematic pull without needing extra layers to sell it. “All Things New” sits back into a laidback 4×4 groove, with vocals soaked in reverb and thunder field recording filling the background. It’s a pleasant chill track that lands on hope and reflectiveness.
The title track is the one that hits hardest. It starts with a plucky, harpy sound, then a gun load and shot, used as part of the rhythm and mood, not as a cheap shock. A simple guitar riff sits underneath, with dubstep-leaning synth ad-libs coating it, and the whole thing plays like a chase cue, tense, forward, built to move.
“Weird in a Good Way” flips the mood. It starts robotic, then opens into something playful and gamey, tribal drums and a marimba-ish arp giving it a platformer-energy bounce. It’s the fun outlier that still fits the album’s bigger identity, pop instincts wrapped in odd choices.
Sync fit: tech-thrillers and city-night edits for the title track, club or fashion montage for “The Song Sung by the Stars,” and game-adjacent cues or playful ads for “Weird in a Good Way.”
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