The L.A. synthpop stars are back with a shimmering fifth set of endlessly catchy songs.
Release date: March 27, 2026 | Columbia Records | Facebook | Instagram | Website
While not exactly local to me, I’ve been aware of Cannons’ slow-burn brilliance ever since I heard their breakout hit “Fire for You”, a sensual swirl of indie dream pop so intimate that I felt an instant connection with them while the world was in lockdown. This trio from Los Angeles, CA has their roots in the alt-pop scene of the mid-’10s, self-releasing all of their earliest EPs plus a debut album (Night Drive) on Bandcamp. They’ve since signed to Columbia Records, thanks in large part to the global success of “Fire for You”, but the core line-up of Michelle Joy on lead vocals, Ryan Clapham handling guitars, and keyboardist Paul Davis filling out the rhythm section, remains just as potent.
It feels bittersweet that the trio’s Bandcamp page – rather than adding in any of their equally blissed-out 2020s output – only displays the Cannons of old. Ever since 2022’s Fever Dream, they’ve leaned further into ‘80s chillwave nostalgia and ‘70s disco verve, giving their music an even more timeless quality. Heartbeat Highway, released late the following year, dipped my expectations a slight bit and – despite housing a kick-ass title track, its breezy lead single “Loving You”, and the total earworm that is “Crush” – had me wondering if their formula was beginning to wear thin on me. It was this same album cycle that Joy described in an interview with Euphoria Magazine as physically and mentally straining, and was not exactly helped by her separation with her husband.
All of this is reflected in the light emanating from their fifth effort, Everything Glows, a shimmering neon streak of endlessly catchy yet vulnerable songs. The suave disco elements are still there, especially on a track like “These Nights”, but they feel more carefree and much less rushed this time around. Beginning with lead single “All I Need”, Cannons return to their roots with shuffling alternative dance beats, giving fans a taste of what’s to come in this 40-minutes-long set.
With airy vocals, atmospheric keys, and ethereal guitars all coated in a thick fog of reverb and delay, these indie synthpop stars truly shine the brightest on this album. I’ve always argued that Cannons are more dream pop than synthwave, and Everything Glows really brings on the nocturnes later on into the LP, with guitarist Clapham being the band’s secret weapon. The riff in “Fool for You” evokes Mazzy Star at their most languid, and a power pop-esque song like “Photographs” greatly benefits from the added guitar haze.
As to be expected from being on a major label – mixer Rob Kinelski is best known for mixing Billie Eilish and other high-profile acts; Mona Khoshoi is credited as a co-writer – this is an endlessly catchy record! “Carousel” whistles while bobbing up and down with ease, sliding headfirst into a world of funky bass hooks and slinky ‘ooooh’s. “Light as a Feather” utilizes an “Enjoy the Silence” by Depeche Mode type of drum machine patter as uplifting keys, guitars and bass invite us over to where ‘there’s glitter on the dancefloor’. The most hook-laden song on this project is undoubtedly the ’80s-Madonna-influenced “Starlight”, another pre-release single.
Though at first it seems like a pop song by the numbers, “Starlight” is the essence of Everything Glows, and it only gets more addictive with each listen. It is an intoxicating combination of programmed drum hits, synthesized flourishes, and handclaps, alongside Joy’s voice repeating a hopeful message: ‘Tell me that/You’ll never let me down’. Clapham’s additional guitar line layered on top creates a mystifying feeling.
Perhaps some of the album’s more reflective themes will disappoint the fans who were expecting more high-energy tunes. It may be a different vibe to hear slower songs on the back half like “Shine” or “Fool for You” for sure, but Cannons’ unique glow still lasts long enough for me to not complain. As for the rest of the album, it’s a welcome invitation to the ‘glitter on the dancefloor’, the ‘fields of cherry waves’ (nice lyrical nod to Deftones there, guys), the ‘shadows in the distance’, and of course, the ‘neon lights’ that shine. Even if these singles don’t see as much radio airplay as Cannons have had when I found out about them, I’ll still remember this as their finest moment yet.
