There's a certain fascination in watching two musicians reject digital perfection to return to the imperfect breath of the analog. "Nowadaze", the debut album from Gris Futuro, is a record that seems to have been born from a short-circuit between distance and the present: analog at heart, yet immersed in the noise of our hyperconnected times.
The project, made up of Lithuanian-born singer Eglė Naujokaitytė and Mexican producer Rogelio Serrano, builds a world of modular synths, vintage drum machines and metallic delays, striving to capture the vertigo of contemporary everyday life amid algorithmic anxiety, toxic nostalgia and digital fatigue.
The sound is clean but never over-polished. The machines breathe, stumble, heat up, travel through time. On "Mirror-Self" and "Far-flung", the echo of 80's and 90's dance-pop intertwines with a synthetic melancholy reminiscent of the best moments of post-2000s coldwave (Linea Aspera and the like), while "The North & South in Me" even brings us back to the most sophisticated disco of Donna Summer and Giorgio Moroder. It's a fragile balance between instinct and structure, between the memory of the past and the fever of the present.
Elsewhere, as on "Hiperenfoque" or "Juodi Žirgai", the formula becomes more rigid instead: the electronic patterns close in on themselves, and the emotion, though still present, struggles to break through the geometry of the sound. "Nowadaze" thus remains suspended in a halfway dimension — interesting, carefully crafted, but rarely surprising.
The album, conceived as a concept piece on the disorientation of modernity, plays out more like a stylistic exercise than a revelation. Still, Gris Futuro manage to avoid the sterility of revivalism thanks to a touch of spectral sensuality, a voice that sounds distant yet alive, and an evident attention to detail. This is, then, a debut that captivates more for its intentions than its impact, but one that still hints at real potential — that of a duo capable of turning the melancholy of the past into a language of the future.
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20/11/2025
This article is an English translation of the original Italian text by Ljós Berinn, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.