Echo Royale unveils haunting, synth-soaked reimagining of Jimmy Eat World’s “The Middle” on debut LP “Thanks, Man” out today

Echo Royale’s music is not easily boxed into genre labels. Across the album’s ten tracks, Abbe and Drost explore sound and form with a curiosity that recalls Stereolab’s propulsive textures, Radiohead’s lush existentialism, and Phantogram’s moody hooks. While ambient atmospheres still echo throughout the record, these are not drifting sound collages. The songs are structured, dynamic, and often deeply catchy, blending pop accessibility with experimental edge.

Much of the album’s sonic character comes from Abbe’s meticulous studio work and analog synth arsenal. Each track feels like its own sonic ecosystem, distinct in mood and construction but somehow part of a unified whole. It’s the kind of album that rewards headphone listening, where subtle details bubble beneath the surface and unexpected turns create moments of quiet surprise. Whether it’s the warm pulse of vintage synthesizers or the spatial awareness of the mixes, there’s a tactile quality to the production that pulls you inward.

And then there’s Drost, whose voice acts as both guide and anchor across the swirling landscape. Her vocals are layered, expressive, and capable of shifting from intimate confession to soaring release. She brings a human warmth to the synthetic backdrops, grounding each track in emotional truth without ever overstating it. Her delivery is often understated, but it cuts deep.

The album’s first single, a re-imagined cover of Jimmy Eat World’s early 2000s anthem “The Middle,” serves as an introduction to Echo Royale’s ethos. Rather than chasing the original’s pop-punk energy, Drost and Abbe slow it down, highlighting the bittersweet core that always existed beneath the surface. The cover leans into the song’s inherent vulnerability, transforming it into a synth-drenched meditation on self-doubt and resilience. The arrangement is minimal but purposeful, with layered harmonies that shimmer and swell before melting into a swirling solo that feels both triumphant and dreamlike.

The accompanying visualizer, made from discarded paintings found in a Palm Beach dumpster, adds another dimension. The images feel strangely familiar and ghostly, like memories from someone else’s childhood. There’s a surreal quality that mirrors the track’s tone, offering a sense of nostalgia that’s been warped, reframed, and emotionally recharged. It’s a fitting aesthetic for a song that straddles past and present, tapping into cultural memory while reasserting personal meaning.

While Thanks, Man may be Echo Royale’s first full-length release, its creators bring with them years of musical experience. Abbe is no stranger to the indie underground, having been part of the cult-favorite band My Teenage Stride and releasing solo work under the name Summerisle. His musical sensibility is both playful and precise, a combination that allows the album to feel experimental without ever becoming indulgent. Drost, whose background lies more in classical voice and theatre, approaches singing with both technical control and emotional instinct, giving her performances a dramatic but never theatrical quality.

What makes Echo Royale stand out is their ability to balance contrast. They blend the cold precision of synth-pop with warm, analog textures. They create space for sorrow but never forget melody. They make music that feels familiar in its influences but original in its execution. Thanks, Man is an album that plays with genre while refusing to be bound by it. It’s adventurous without being alienating, smart without being cynical, and emotionally rich without being overwrought.

As a debut, it’s an impressive statement of intent from two artists who seem to have found exactly the right collaborator at exactly the right moment. Echo Royale may have started as a side project or experiment, but Thanks, Man makes it clear they’ve tapped into something lasting.