I’m in love with illusion
Addicted to synthetic glow
Asphyxiated confusion
Drowning in this world alone
Dark songstress Anne Bennett materializes from the fog-drenched thoroughfares of Salem, Massachusetts, with her latest offering, Electric Sin. This single drips with the spectral charm and cryptic allure synonymous with her hometown; an amalgamation of ethereal whispers, icy synths, and an unmistakable gothic heartbeat.
Bennett’s voice, spectral, ethereal, and raw, conveys the lingering ache of detachment, floating seamlessly above neon-soaked synthpop textures. She journeys deeper here, wandering through the liminal space between desire and disconnection. There’s an uncanny sense of intimacy paired with profound isolation…a kind of seductive despair that draws listeners into its orbit, bringing to mind Kate Bush, Cocteau Twins, and Madonna’s more introspective torch songs.
A whirlpool of light and dark, Electric Sin thrums with dreampop guitars and bass, juxtaposed against the dusky glamour of 80s synthwave. It’s a contrast of ethereal gauze and images conjured from the recesses of dark cinema classics. Think The Lost Boys tangled with the metallic synth dread of 1984’s AI cautionary tale, The Terminator.
Bennett herself describes the genesis of Electric Sin as being sparked by the polished façades that populate Instagram feeds. “Social media has turned us all into dopamine addicts,” she remarks. Her voice carries the weary weight of revelation. “We’ve become so obsessed and attracted to these heavily edited photos that we start to lust after that ‘ideal’ person. We can no longer be intimate with our own partners because they can’t measure up to the IG models and even AI models that we surround ourselves with.”
Her lyrical lens cuts sharply, illuminating uncomfortable truths about the modern condition: we chase synthetic ideals and abandon authentic connections. The song captures this contradiction vividly, painting a stark portrait of emotional withdrawal cloaked in electric allure. Bennett’s depiction of intimacy fractured by illusion delivers an unsettling, powerful emotional wallop.
Electric Sin is a mirror reflecting our escapist tendencies: unapologetic, immediate, and poignant. We mourn the loss of connection with this one. Anne Bennett, with an elegance tempered by emotional honesty, summons listeners toward confrontation and catharsis. Her music vibrates as much with the spirit of Salem as with the anxieties of our digital age: shadowed, spellbinding, and unapologetically human.
Listen below:
Anne Bennett spoke with Post-Punk.com about her upbringing, influences, and other experiences she’s had as a musician.
Salem, Massachusetts is known for its rich history and gothic atmosphere. How has your hometown influenced your music, imagery, or artistic persona?
Well for one thing, I grew up in a neighborhood called Witchcraft Heights, and my elementary school was “Witchcraft Heights Elementary School.” People who aren’t from around here assume I went to school for Witchcraft, which makes for a lot of confusion and humour. I was always drawn to the cemeteries of Salem, particularly the less touristy ones. I’d often sit and hum new melodies or write lyrics as a teenager in them. I’m obsessed with death.
Share something unique or unexpected about you or your artistic journey that listeners might find intriguing.
I collect obituaries. I’ve been doing it for years. I have this unsettling obsession with death. I feel like if I don’t save these obituaries, these people will be forgotten (even though that’s not true). It’s a rather silly hobby of mine, but it helps my creativity in some way.
What bands or artists have inspired or influenced your sound, especially given your blend of gothic 80s synthwave and dark pop elements?
I’m inspired by such a wide array of music! I love the uniqueness and boldness of PJ Harvey and Tori Amos, they are probably my immediate idols/influences and I’ve seen them live numerous times. I’m also really inspired by The Cure, Cocteau Twins, Allie X, Joy Division, The Doors, Chelsea Wolfe, Lana Del Rey, Actors, Mozart, Mariah Carey (prior to 2001)…It’s constantly evolving and growing!
Electric Sin carries a strong 80s gothic synthwave vibe, with references to Stranger Things, The Lost Boys, and The Terminator. What draws you to that 1980s dark, cinematic aesthetic? How did you incorporate those influences or vibes into the sound and storytelling?
I was heavily influenced by the visual aesthetic, instrumentation and nostalgia in both the films and the series. The soundtracks are otherworldly, eerie yet nostalgic in a way I can’t quite place my finger on. In the past I hadn’t used a ton of synth in my music, but am heading more in that direction as I grow as an artist. I feel it suits my mood, lyrics, and imagery much better.
I gain most of my inspiration from TV/film. I watch a lot of shows/movies, and I always watch actively, with pen and paper. I write interesting phrases or words that the characters say, or feelings and emotions I get from the experience. For example, I binge-watched the show Lucifer a few years ago, and wrote my song Ridin’ with the Devil, which I loosely based on the series and character.
One of my favorite books is The Hours, by Michael Cunningham (the movie is also excellent), which touches upon death and loss quite a bit, and I’ve used elements of those emotions in some of my writing.
Who created the cover art for “Electric Sin”? What is the concept behind the artwork, and how does it reflect the song’s themes or mood?
The single artwork was created by Carmella Carr, and the photo is by Courtney Brooke Photography. I think it gives off the perfect retro aesthetic with the colors and fonts. (Courtney) takes most of my photos because she understands my artistry and is also based in Salem.
Have you performed live as a solo artist yet? If so, what has been your most memorable live performance so far? If not, what are your plans or vision for your first live show?
I’ve been performing as a solo artist steadily since September 2024, not a long time! I do have a little experience with musical theater (I played Maria in the Sound of Music for a community theater for nine grueling shows!), and as a backup singer for a couple of years in a cover band. I think it’s a lot scarier performing my own songs, because it puts me in a vulnerable position, and I do have stage fright, even though I’ve performed many times. My most memorable live performance was an acoustic showcase I did in September 2024, my first real show as a solo artist. I was terrified! When playing one of my songs Second Death, which is a full track with electric guitars, drum machine, synth etc, because I was playing it acoustically, and because there is this really cool guitar riff in the song that I couldn’t play live on acoustic, I asked the audience to sing the riff. What an experience it was to hear people singing along to my song!
What has been the biggest challenge you’ve faced in your music career so far, and what has been a standout breakthrough or proud moment for you?
The biggest challenge is having to work a full-time day job, while also hustling with my music after hours and on weekends. Since music isn’t a hobby to me, I treat it like a business, no days off! The second biggest challenge is getting people to actually listen to the songs and reaching new fans and getting on Spotify editorial playlists. The biggest breakthrough I’ve had is the realization that I’m going to make music whether people like it or not, so why do I need to care so much about the opinion of others?
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