I first stumbled across Sub-Radio in the early COVID years. Like many of us, I found comfort in weird internet corners and for me, that corner was Reddit, where a group of friends with mics, bright shirts and one dancing tube man turned every livestream into a tiny festival. The moment they went live, everything else could wait. I was instantly hooked. Their mix of indie-pop nostalgia and something completely fresh hit at exactly the right time.

Since then, Sub-Radio has become a constant in my musical world. They’re my number 2 most listened-to artist of all time (thanks, Last.fm), racking up a casual 1,254 streams. In 2024 they were my #2 most played artist. In 2025, they’re sitting at #6 so far but something tells me that won’t last long. Because today, Sunrise City dropped.

And it’s good.

This is their first full-length album in nearly a decade, and it’s everything I hoped for. A vibrant, 15-track journey released via Th3rd Brain, Sunrise City builds on the high-energy, harmony-rich sound they’ve honed over the years while also taking a few thrilling detours into new sonic territory.

From the opening chords of the title track, Sunrise City drifts out like the hush before dawn: a swirling dreamscape of synths that feels both fresh and comfortably familiar. It immediately sets a mood of hopeful wanderlust, as if the band is handing you a sunrise in musical form. That gentle buildup folds seamlessly into the pulsing momentum of Pink Lemonade, a song I’ve already memorised by heart. There’s a clever tension between its moody verses and euphoric chorus, a masterclass in how to keep energy high without tipping into formula.

Just when you think you have the blueprint, Sub-Radio shifts gears with I’M IN LOVE!!, whose driving beat and chant-worthy hook are pure festival bait. It might lean on repetition, but there’s a purpose there: it’s the track you’ll find yourself humming under your breath long after you’ve stopped listening. Without skipping a heartbeat, the album pivots again into the riff-driven swagger of Onto Me. Suddenly, you’re in alt-rock territory, strings snarling beneath Adam’s effortless vocals. It’s a bracing jolt… exactly the kind of detour that keeps an album feeling alive.

As Sunrise City rolls on, it alternates between big, sing-along anthems and moments of introspective calm. Sleep On The Beach captures the joy of late-night escapism picture gathering by the water’s edge, lights twinkling and voices raised in chorus. Then Dimension arrives with funky bass lines and a vocal flourish that wouldn’t feel out of place on a retro radio dial, showcasing a side of Sub-Radio that’s unafraid to flirt with groove.

Mid-album, the mood softens. Don’t Cry feels like a 2000s emo revival, perfect for singing through a minor heartbreak, while Burden and Spin strip back the instrumentation altogether, spotlighting Adam’s dynamic range. These quieter moments are more than filler: they’re emotional pit stops that let the heart catch up before the next surge.

The collaboration with Moontower on Better View drifts in like a soft breeze, ethereal and echoey, before Nothing’s Broken gently eases us toward the back half without demanding too much attention. It’s a fine song, but its understated nature makes you appreciate the more vivid moments all the more. When the guitary vibes return on Pretty Boy, you sense the energy building again, a welcome nudge toward the album’s final arc.

By the time 22 (not a Taylor Swift cover) arrives, there’s an undeniable lift in spirit, the kind of lyricism that feels like the soundtrack to reclaiming your own story. Friends, meanwhile, slows the pace once more; it might have worked better swapped earlier, but it nonetheless offers a tender moment of reflection. Then, just as you might be settling in for the end, Sunrise City bursts back to life with its closer. heavenheavenheaven is a joyous, dance-floor-ready farewell… an invitation to start the whole journey over again.

What strikes me most about Sunrise City is its confident fluidity. Sub-Radio knows exactly when to push forward and when to let you breathe, crafting a record that feels as cohesive as it is adventurous. There are tracks I’ll live in for weeks (Pink Lemonade, Onto Me, Spin and heavenheavenheaven) while others I’ll revisit for specific moods. But every song has its place, and the album as a whole reminds me why I fell in love with this band in the first place.

Later this week, I’ll dive into new releases from The Kooks (Never/Know) and M83 (A Necessary Escape – Dakar Chronicles OST), but for now, I’m still listening to Sunrise City on repeat. If you’ve got a quiet morning or a long drive ahead, press play. The sunrise is worth the wait.