Lonely Boy by Joveth isn’t just your typical “sad guy with a synthesizer” project. This EP isn’t here to quietly sob in the corner. It’s here to grab you by the collar, slap you across the face with a wall of synths, and scream at you to feel emotions or something. And honestly? Respect.
Joveth takes years of heartbreak, self-destruction, and existential dread and processes it the only way a modern musician knows how: by turning it into an emotionally devastating electronic record. It’s like an audio diary, except instead of a locked notebook hidden under the bed, it’s blasting through stadium speakers at full volume.
The production is huge, filled with soaring melodies, gut-punching drops, and just the right amount of melancholic guitar to make you feel deep but not, like, too deep. Joveth creates a delicate balancing act between fragile introspection and club banger that hits the mark with ease, blending the ethereal, emotionally charged production of Illenium, the introspective yet anthemic songwriting of someone like Sam Fender with his earlier albums and the euphoric yet melancholic soundscapes of The Chainsmokers’ more melancholic releases and personally, the styles of San Holo. The result? An EP that’s both explosive and intimate, offering festival-ready bangers with a depth of emotion that lingers long after the final note fades.
Each track on Lonely Boy is packed with confessional honesty, raw regret, and just a hint of self-loathing paired with the finessed production style of an EDM-meets-bedroom-pop producer. They’re a finely balanced mix of delicate moments and explosive energy, with transitions and sequencing so seamless, ensuring that no drop feels out of place and no breakdown feels forced. Instead, the production flows naturally, allowing emotions to rise and fall like waves, pulling the listener deeper into the world the EP constructs. Tracks like “Burn It” start like a lullaby and end like an explosion, and throughout its runtime blasts like a sonic rollercoaster that will wreck your emotions in under three and a half minutes. “We’re Over” plays directly like the breakup song that also serves as a festival banger with its euphoric, devastating, and ultimately perfect synth flourishes. Lastly, the titular track runs as the most radio-ready and the one that I could be convinced to have been a lost track from The Chainsmokers’ So Far So Good.
This EP proves that electronic music doesn’t have to be brainless. It can be cinematic, personal, gut-wrenching, and still deliver massive festival-ready moments. Lonely Boy makes you dance and question your life choices at the same time.
And really, isn’t that the whole point?
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About the Author
A tenured media critic known working as a ghost writer, freelance critic for publications in the US and former lead writer of Atop The Treehouse. Reviews music, film and TV shows for media aggregators.
