Album Review: Nova

The Nova album cover on Bandcamp is one of those designs that looks simple, but keeps revealing little quirks the longer you stare at it. The stylised lettering, stretched with those wiggly, almost hand‑drawn line accents, and it feels like a natural evolution of the visual world Harry Charles has been building over the last few years. It’s familiar because the typography always seemed to float rather than sit still. Nova leaves behind the wilder colours of the singles already released from this new album.

The wiggly lines forming the letters look like stylised sound waves from his European journey or the now-permanent heat ripples. Both fit the album I’ve had on repeat for the last few days. Nova is full of warm synths and slow‑rolling beats, and the art mirrors that. It feels alive, like the title is vibrating with the same gentle energy you hear in tracks like Drift and Zero Zero. There’s also a bit of that DIY‑meets‑digital charm Harry has used before, especially on some of his earlier Bandcamp singles where the artwork had a slightly handmade feel. But who is here for an art class, it’s the music that our ears desire…

Great Pages opens Nova with that classic glow that feels like a late summer drive through Aotearoa with the windows down. It is the newest single and you can hear why. The track has this warm pulse that sits somewhere around a deeper sounding Zuke, a hit of Fat Freddy’s Drop and a softer Shapeshifter mood. Harry leans into that dreamy electronic pop space he has been carving out since his early Serafin audio Imprint, Klassified Records, Rebellion der Träumer and Loop Electronic Tour days. The opening track feels like a sunrise that refuses to rush, while still smelling like caffeine. It is a strong opener and a clever one because it sets the tone of the album without giving away the heavier moments still to come.

Drift follows and it really does what the title promises. It drifts in like a tide at Ocean Beach, slow and steady, then pulls you out further than you expected. This one was never released as a single which almost feels cheeky because it is easily one of the most addictive tracks on the album. There’s a hint of repetitiveness to it that brings back some old memories of European summer vibes. So maybe the inspiration wasn’t our NZ Ocean Beach at all but the rocky waterfront outside Café del Mar. Drift feels like a sunset or that moment at a festival when the lights go low and everyone collectively exhales.

Storm is where the album starts to flex. Harry has always had a knack for building tension without going full chaos and Storm is a perfect example. It has that cinematic swell he showed at Shipwrecked Festival in both 2025 and 2026 (both sets available to listen to on Soundcloud). The production is crisp and moody with a rolling undercurrent that hints at influences like Rufus du Sol’s You Were Right. It is dramatic but never overwhelming. There are only a few moments where a live‑guitar tone sneaks in between the slow beats. Something that comes back often in Harry’s music. It’s only a year ago that the previous album, Movement, opened with a lovely guitar.

Forwards is one of the unreleased tracks and it is a beauty. The song has a steady heartbeat rhythm with a very catchy soft metal percussion in the background. There is a nostalgic glow to it, like playing the triangle back in primary school when you actually just wanted to hit the cymbal hard. Just like we all grow up, the rhythmic tune is replaced halfway through the song by more difficult to play guitar strings. It is easy to imagine this one becoming a fan favourite at live shows. It has festival feelings, where an outdoor space with deep bass speakers fills your dance boots.

The Luck shifts the mood again. It is more introspective, almost folky in its nonverbal storytelling even though the production stays firmly in the electronic world. Luck is the kind of song that sneaks up on you. Released in September of 2025, just five months after the previous album, it follows that record with a similar beat. The Lightness Inside on that album sounded familiar to this track.

Zero Zero closes the album with a slow burn that feels like the final scene of a film. It is spacious and patient with a beat that makes your head nod. The synths stretch out and the vocals feel almost weightless. On this album there are less vocals used, this song only has that soft “ohoo‑hoo” vocal tone, but it sure is catchy. Zero Zero is the kind of track that makes you want to lie on the floor and let the sound wash over you. The shorter single edit shows the track already has a solid following and is gaining traction. Plays in the 10k range sure tells us EDM in Aotearoa is not dead, and Harry is gaining followers.

Across all six tracks on Nova, Harry Charles is stepping into a more refined and emotionally rich version of his sound. The production is polished but never too sterile. Fewer vocals are used on this album, but what is there still makes it feel human. You can hear the influence of his festival runs and the confidence that comes from gigs like selling out Big Fan in 2025. Nova feels like the work of an artist who knows exactly what he wants to say and has the tools to say it. European influences are easy to pick out of the sound, but I’m still proud this is all NZ music.

The album is available on Spotify, Bandcamp, with remixes and video on Soundcloud and YouTube which makes it easy to dive into no matter your listening habits. And honestly, Nova is worth diving into. Nova is the kind of album that grows with you. For me, Zero Zero has a permanent listing on the playlist. And I can’t wait to see a live set.