George Clanton

George Clanton makes electronic pop built for singing along to, with synths that lean hard on nostalgia. His records stack washed-out keyboards, thick low end and a high, unguarded vocal that sits right at the front of the mix. He came up through vaporwave and still carries its warped, second-hand sheen, but the writing underneath is plain pop: verses, choruses and hooks meant to be shouted back. Acid house squelch, shoegaze haze and trip hop drag all turn up, held together by a clear preference for feeling over irony.

He has recorded under several names, releasing as Mirror Kisses and under other aliases before the work under his own name took hold. The albums Slide and Ooh Rap I Ya marked the shift, trading lo-fi murk for bigger, cleaner production while keeping the emotional directness intact. Music press followed that turn, and the songs moved out from a niche internet audience. He has kept the releases largely in his own hands, building the audience directly rather than through a conventional rollout.

Live, Clanton works as a performer rather than a selector: he sings the songs, plays them louder and rougher than the recordings, and treats the material as pop that needs a voice in the room. The delivery is unguarded, and the arrangements are opened out so the hooks land as chants rather than as headphone moments. It suits listeners who want electronic music that is sentimental and physical at once, and who would rather join in than stand and watch.