Richard Bromsen's synthesizer work recalls the glacial grandeur of Giorgio Moroder, building towering walls of sound that shimmer with digital frost. His brother Karlo's vocals possess the breathless intensity of a man shouting into the void of cyberspace, transforming mundane observations about Wi-Fi and hyperconnectivity into something approaching profundity. When he asks "How can we drown in the Wi-Fi?" the question lands with genuine pathos rather than tech-bro banality.

The production, courtesy of Reatsch's Suburb Studio Berlin, deserves particular praise for its restraint. Where lesser producers might have drowned the mix in reverb and compression, Eydner allows each element breathing room. The result feels expansive rather than claustrophobic—appropriate for a song about navigating endless digital highways.

The accompanying music video amplifies the track's neon-soaked aesthetic without descending into pastiche. Director and concept remain refreshingly focused on mood over narrative, letting the visuals drift like highway hypnosis while the synthesizers churn underneath.

Bromsen's growing reputation among indie tastemakers feels well-earned. "Data Highway" demonstrates their ability to balance nostalgia with innovation, creating music that sounds simultaneously ancient and futuristic. The recent addition of drummer Bon Schmelke promises intriguing developments for their live performances, though one hopes they resist the temptation to over-egg their carefully constructed pudding.

"Data Highway" confirms Bromsen as one of the more compelling acts mining the rich seam between retro-futurism and contemporary anxiety. Like all the best synth-wave, it makes the digital age sound both thrilling and terrifying, often within the same bar.

Verdict: A pulsating slice of Teutonic synth-pop that proves the highway to digital hell is paved with excellent synthesizer programming.