Where *Two Lane Highway* \u2014 the 2023 debut \u2014 established a signature somewhere between retro-futurist shimmer and contemporary pop precision, *Devil May Care* drags that signature into darker latitudes. The Los Angeles of this record is not the broad daylight city of myth. It is the Sunset Strip at 2am when the rope has been lifted and the glamour has curdled, when perfume mingles with sweat, when the beautiful people have begun to look slightly haunted. Valley Lights has found his location, and it is a specific kind of moral weather: neon-lit, morally pliable, gorgeous in its decay.<\/p>
Comparisons to The Midnight will be inevitable \u2014 cinematic synthwork, the sense of memory organised into architecture \u2014 but to leave it there would be lazy. Valley Lights is doing something more sleeveless, more physically present. The influence of The Weeknd’s particular brand of nocturnal R&B hangs over these grooves, that same quality of appeal curdling into menace and back again, but the palate here runs cooler, more analogue in its textures even when the arrangements are maximalist. This is music that has been touched by human hands, even when the machines are doing the talking.<\/p> Lead singles “Giving Up On You” and “Life On The Edge,” both premiered through the estimable NewRetroWave platform, served notice that the record would not be trading on nostalgia alone. The former is a controlled dissolution, built on a synth figure that circles its own wound before opening into something vast and bruised. The latter is rather more kinetic \u2014 velocity as emotional strategy, as if moving fast enough might outrun whatever it is that is being fled. Both tracks understand something fundamental about great pop music in this register: that the best retro-futurist music is never really about the past. It uses the vocabulary of another time to talk about a very present kind of dread and longing.<\/span><\/p> The record as a whole sustains a mood that is rare and difficult to engineer: intimacy at scale. Valley Lights is not interested in distance. These songs want to get close, to operate at breath-on-neck proximity, and the production \u2014 released via Outland Recordings, who continue to demonstrate curatorial seriousness \u2014 is calibrated precisely to that effect. The low end is deliberate, the atmospherics never decorative. Every sonic choice seems to have been interrogated before it was allowed to stay.<\/span><\/p> What separates *Devil May Care* from the considerable crowd of synthwave and synth-pop practitioners currently working the same strip is a refusal of mere vibe. Plenty of artists can recreate the temperature and texture of this music. Far fewer can make it feel like it matters, like something is genuinely at stake in the execution. Valley Lights carries that quality throughout \u2014 a sense that these are not aesthetic exercises but emotional dispatches from somewhere real, routed through a sound world that happens to share a border with 1985.<\/span><\/p> *Devil May Care* is not a record that announces itself and then retreats. It commits. It leans all the way into the frayed edges of night and finds there not despair but something stranger and more interesting \u2014 a kind of exhilarated reckoning, a beauty that knows exactly how temporary it is, and chooses to be beautiful anyway.<\/span><\/p> This is how the second album is supposed to sound.<\/em><\/p>\n\n\n\n\n
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