I’ve been obsessed with CASTLEBEAT for years. There’s something incredibly reassuring about the way Josh Hwang continues to carve out his own space in the indie world, one hazy groove at a time. Stereo was a real standout last year, an album full of sunny melodies and understated beauty. It felt like a fresh breeze through the Spirit Goth catalogue. Now he’s back with Revival, and it’s an even more confident, bolder step forward.
CASTLEBEAT has always been a bedroom project. That lo-fi touch is at the very core of what makes his music feel so personal. Every sound on Revival was tracked and mixed on a garage setup. You can hear the limitations and that’s the point. What makes it so addictive is how Hwang continues to refine his formula while refusing to polish the edges too much.
Revival is made up of a generous 16 tracks and moves at a brisk pace. Short songs, sparse arrangements, hooks that dig in quick. It’s effortless without ever sounding lazy. The reverb-drenched guitars are still here, the woozy synths too, but there’s a sharper bite to the rhythm sections and a heavier focus on vocals. There’s a feeling that Hwang is more present than ever before. He’s not hiding in the mix. He’s taking ownership of every word.
Let’s dive in and see what’s what.
‘Way Too Much’ opens the record in typical CASTLEBEAT fashion. A looping guitar phrase leads the way as a sleepy vocal settles in behind. It’s got that disaffected charm that fans will instantly recognise. What’s new here is how tight the structure is. This is a pop song through and through. No dead weight. No drifting.
‘Tonight’ follows and keeps the energy up. The tempo is quick and there’s a sense of movement baked into the production. It feels like a song you’d throw on when heading into the city for a night out. Synth leads sparkle in the background while the vocals land with that warm drawl he’s perfected.
The sun comes out on ‘Hat Trick’ next. The guitar tone here is divine. Soft and watery. There’s a touch of melancholy in the lyrics but the delivery is so lowkey it’s hard not to smile. You get the feeling Hwang enjoys playing with contrast like that. This is him at his most poppy and it’s an early stand out track for me.
‘Ivy League’ is another gem. A jangly, bouncy rhythm sits under a goth-tinged guitar line and heavily reverbed vocal. There’s something a little more biting here. The lyrics are a series of denials he sings, in a tone that says he’s over it. Yes. It’s a wee bit darker than usual but I’m here for it.
Keeping the pace moving along nicely ‘Call Me’ thickens the atmosphere. This one sounds like it was recorded through a fog. The vocals are layered and warped. It’s wistful and hypnotic. A classic example of how he uses texture to tell a story.
‘Lies’ leans into groove. The bassline is punchy and upfront. The guitars are more rhythmic than melodic here, giving it a funkier edge. Vocals have an 80’s electro vibe reminding me a little of Half Life era CASTLEBEAT. Confident and minimal.
‘Like A Dream’ does exactly what the title suggests. This is where the album floats into dreamy territory. There’s a laziness in the drum pattern that matches the lyrical theme. It’s a mood piece and it works perfectly in the middle of the record.
‘Heaven’ stands tall. The chorus is instant. His voice is buried slightly deeper in the mix again, like it’s echoing from another room. Guitars both glisten and bark where required. In that chorus though its like he flips a switch and his voice leaps to the front of the mix lifting the whole thing. Love that contrast.
‘Torn Up’ and ‘With You’ feel like siblings. Both are compact, tight, and emotional without leaning into sentimentality. The first is more direct. The second, more romantic. “With you, I’m sorry I can’t be here without you” is a simple line but in Hwang’s hands it carries a lot of weight.
‘Taking The Fall’ is raw. At just over two minutes it barely gets going before it ends, but that’s part of the charm. It feels like a demo in the best way. Just a riff, a beat, a vocal and a feeling. One of the most honest cuts here.
Then comes ‘Downtown’. A slower, sprawling piece. It runs over three and a half minutes and gives everything more room to breathe. There’s a nighttime vibe here that really hits. The synths pulse gently and the vocal melody is one of the strongest on the album.
‘Anymore’ is the shortest track and probably the most fragile. A lo-fi drum loop and a barely-there guitar figure are all that’s needed. “You’re a ghost in my head” The line hits like a gut punch. It’s a blink-and-you’ll-miss-it moment but one that sticks with me.
The title track, ‘Revival’, is the emotional core of the album. There’s a weight to it that sets it apart. Longer, more layered, and more dynamic than anything else here. The vocal is clearer and more exposed. You can feel the shift. It’s a turning point. Not just in the album, but maybe in CASTLEBEAT’s whole trajectory. It’s reflective and forward-looking at the same time.
‘1990’ is a sweet downshift. A nostalgic number that wouldn’t sound out of place on an old Spirit Goth sampler. Breathy vocals and a gentle sway to the instrumentation. It’s a palette cleanser that helps transition to the closer.
‘Never Seen Your Face’ wraps the album on a dreamy high. The vocals here feel different again. They’re not quite sad, but there’s distance. A longing. The guitar phrasing is simple and beautiful. A slow fade to black.
This isn’t a reinvention. Revival doesn’t try to shock or surprise. It’s not full of twists. It’s something better. It’s an artist learning how to say more with less. It’s Josh Hwang at his most direct, his most focused, and his most comfortable. He’s never chased trends. His sound has always been internal. Dream pop, indie rock, slacker pop—it’s all filtered through his own voice. And what a voice it is. Quiet, sure. But unmistakable. If Stereo was CASTLEBEAT smoothing out his sound, Revival is him learning how to wield it. CASTLEBEAT has given us another reason to stay tuned. And for fans like me, that’s everything.
Revival is out now via Spirit Goth and is available on cassette and digitally now via the Spirit Goth Bandcamp Page.
You can follow CASTLEBEAT on social media here…
Discover more from Static Sounds Club
Subscribe to get the latest posts sent to your email.
Static Sounds Club 