Synth-pop
Synth-pop | |
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Other names | Techno-pop |
Stylistic origins | |
Cultural origins | 1977–1980 in West Germany, Japan, and United Kingdom |
Derivative forms | |
Fusion genres | |
Other topics | |
Electronic music |
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Experimental forms |
Popular styles |
Other topics |
Synth-pop (short for synthesizer pop;[10] also called techno-pop[11][12]) is a music genre that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument.[13] It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco, and particularly the Krautrock of bands like Kraftwerk. It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s.
Electronic musical synthesizers that could be used practically in a recording studio became available in the mid-1960s, and the mid-1970s saw the rise of electronic art musicians. After the breakthrough of
The term "techno-pop" was coined by Yuzuru Agi in his critique of Kraftwerk's The Man-Machine in 1978 and is considered a case of multiple discovery of naming. Hence, the term can be used interchangeably with "synth-pop", but is more frequently used to describe the scene of Japan.[14] The term "techno-pop" became also popular in Europe, where it started: German band Kraftwerk's 1986 album was titled Techno Pop; English band the Buggles has a song named "Technopop" and Spanish band Mecano described their style as tecno-pop.[15]
"Synth-pop" is sometimes used interchangeably with "
The genre has received criticism for alleged lack of emotion and musicianship; prominent artists have spoken out against detractors who believed that synthesizers themselves composed and played the songs. Synth-pop music has established a place for the synthesizer as a major element of pop and rock music, directly influencing subsequent genres (including house music and Detroit techno) and has indirectly influenced many other genres, as well as individual recordings.
Characteristics
Synth-pop is defined by its primary use of synthesizers,
Many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music. The result was often minimalist, with grooves that were "typically woven together from simple repeated riffs often with no harmonic 'progression' to speak of".[18] Early synth-pop has been described as "eerie, sterile, and vaguely menacing", using droning electronics with little change in inflection.[19][20] Common lyrical themes of synth-pop songs were isolation, urban anomie, and feelings of being emotionally cold and hollow.[2]
In its second phase in the 1980s,[2] the introduction of dance beats and more conventional rock instrumentation made the music warmer and catchier and contained within the conventions of three-minute pop.[19][20] Synthesizers were increasingly used to imitate the conventional and clichéd sound of orchestras and horns. Thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, and compressed production, and a more conventional drum sound.[21] Lyrics were generally more optimistic, dealing with more traditional subject matter for pop music such as romance, escapism and aspiration.[2] According to music writer Simon Reynolds, the hallmark of 1980s synth-pop was its "emotional, at times operatic singers" such as Marc Almond, Alison Moyet and Annie Lennox.[20] Because synthesizers removed the need for large groups of musicians, these singers were often part of a duo where their partner played all the instrumentation.[2]
Although synth-pop in part arose from punk rock, it abandoned punk's emphasis on authenticity and often pursued a deliberate artificiality, drawing on the critically derided forms such as disco and glam rock.[4] It owed relatively little to the foundations of early popular music in jazz, folk music or the blues,[4] and instead of looking to America, in its early stages, it consciously focused on European and particularly Eastern European influences, which were reflected in band names like Spandau Ballet and songs like Ultravox's "Vienna".[22] Later synth-pop saw a shift to a style more influenced by other genres, such as soul music.[22]
History
Precursors
Electronic musical synthesizers that could be used practically in a recording studio became available in the mid-1960s, around the same time as rock music began to emerge as a distinct musical genre.
In 1971, the British film
The mid-1970s saw the rise of
Origins (1977–1980)
Early guitar-based
The
Be-Bop Deluxe released Drastic Plastic in February 1978, leading off with the single "Electrical Language" with Bill Nelson on guitar synthesizer and Andy Clark on synthesizers. Japanese band Yellow Magic Orchestra (YMO) with their self-titled album (1978)[44] and Solid State Survivor (1979), developed a "fun-loving and breezy" sound,[45] with a strong emphasis on melody.[44] They introduced the TR-808 rhythm machine to popular music,[46] and the band would be a major influence on early British synth-pop acts.[47] 1978 also saw the release of UK band the Human League's debut single "Being Boiled", while American post-punk band Devo began moving towards a more electronic sound. At this point synth-pop gained some critical attention, but made little impact on the commercial charts.[48]
"This is a finger, this is another... now write a song"
—This quote is a take on the punk manifesto This is a chord, this is another, this is a third...now start a band celebrating the virtues of amateur musicianship first appeared in a fanzine in December 1976.[49]
British punk-influenced band
In 1979, OMD released their debut single "Electricity", which has been viewed as integral to the rise of synth-pop.[53][54] This was followed by a series of landmark releases within the genre, including the 1980 hit singles "Messages" and "Enola Gay".[55] OMD became one of the most influential acts of the period,[56][57] introducing the "synth duo" format to British music.[58] Vince Clarke, who co-founded the popular synth-pop groups Depeche Mode, Erasure, Yazoo and the Assembly, has cited OMD as his inspiration to become an electronic musician.[59][60] Bandleaders Andy McCluskey and Paul Humphreys have been described in the media as "the Lennon–McCartney of synth-pop".[61][62]
Giorgio Moroder collaborated with the band
1980 also saw the release of where "Video Killed the Radio Star" came from, the Buggles' debut album The Age of Plastic, which some writers have labeled as the first landmark of another electropop era,[67][68] as well as what for many is the defining album of Devo's career, the overtly synth-pop Freedom of Choice.[69]
Commercial success (1981–1985)
The emergence of synth-pop has been described as "perhaps the single most significant event in
The New Romantic scene had developed in the London nightclubs Billy's and the Blitz and was associated with bands such as Duran Duran, Visage, and Spandau Ballet.[74] They adopted an elaborate visual style that combined elements of glam rock, science fiction and romanticism. Spandau Ballet were the first band of the movement to have a hit single as the synth-driven "To Cut a Long Story Short" reached number 5 on the UK Singles Chart in December 1980.[75] Visage's "Fade to Grey", characteristic of synth-pop and a major influence on the genre,[76] reached the top ten a few weeks later.[77] Duran Duran have been credited with incorporating dance beats into synth-pop to produce a catchier and warmer sound, which provided them with a series of hit singles,[19] beginning with their debut single "Planet Earth" and the UK top five hit "Girls on Film" in 1981.[78] They would soon be followed into the British charts by a large number of bands utilising synthesizers to create catchy three-minute pop songs.[21] In summer 1981 Depeche Mode had their first chart success with "New Life", followed by the UK top ten hit "Just Can't Get Enough".[79] A new line-up for the Human League along with a new producer and a more commercial sound led to the album Dare (1981), which produced a series of hit singles. These included "Don't You Want Me", which reached number one in the UK at the end of 1981.[80]
Synth-pop reached its commercial peak in the UK in the winter of 1981–2, with bands such as
Dutch entertainer Taco, who has a background in musical theatre, released his own synth-driven re-imagining of Irving Berlin's "Puttin' On the Ritz"; resulting in a subsequent long-play, After Eight, a concept album that takes music of 1930s sensibilities as informed by the soundscape of 1980s technology. The proliferation of acts led to an anti-synth backlash, with groups including Spandau Ballet, Human League, Soft Cell and ABC incorporating more conventional influences and instruments into their sounds.[86]
In the US (unlike the UK), where synth-pop is sometimes considered a "subgenre" of "new wave" and was described as "technopop" or "electropop" by the press at the time,
In the mid-1980s, key artists included solo performer
Declining popularity (1986–2000)
Synth-pop continued into the late 1980s, with a format that moved closer to dance music, including the work of acts such as British duos Pet Shop Boys,[106] Erasure[107] and the Communards. The Communards' major hits were covers of disco classics "Don't Leave Me This Way" (1986) and "Never Can Say Goodbye" (1987).[108][109] After adding other elements to their sound, and with the help of a gay audience, several synth-pop acts had success on the US dance charts. Among these were American acts Information Society (who had two top 10 singles in 1988),[110] Anything Box, and Red Flag.[111][112] British band When in Rome scored a hit with their debut single "The Promise". Several German synth-pop acts of the late 1980s included Camouflage[113] and Celebrate the Nun.[114] Canadian duo Kon Kan had major success with their debut single, "I Beg Your Pardon" in 1989.[115][116]
An American backlash against European synth-pop has been seen as beginning in the mid-1980s with the rise of
21st-century revival (2000s–present)
Indietronica began to take off in the new millennium as the new digital technology developed, with acts such as
In the new millennium, renewed interest in electronic music and nostalgia for the 1980s led to the beginnings of a synth-pop revival, with acts including
American singer Kesha has also been described as an electropop artist,[146][147] with her electropop debut single "Tik Tok"[148] topping the Billboard Hot 100 for nine weeks in 2010.[149] She also used the genre on her comeback single "Die Young".[146][150] Mainstream female recording artists who have dabbled in the genre in the 2010s include Madonna,[151][152][153] Taylor Swift,[154][155][156] Katy Perry,[157][158][159] Jessie J,[160] Christina Aguilera,[161][162] and Beyoncé.[163]
In Japan, girl group
In 2020, the genre experienced a resurgence in popularity as 1980s-style synth-pop and synthwave songs from singers such as the Weeknd and Dua Lipa gained success on international music charts.[171] "Blinding Lights", a synthwave song by the Weeknd, peaked at number one in 29 countries, including the United States, in early 2020; and later became the Billboard number-one greatest song of all time in November 2021.[172]
Criticism and controversy
Synth-pop has received considerable criticism and even prompted hostility among musicians and in the press. It has been described as "anaemic"[173] and "soulless".[174] Synth-pop's early steps, and Gary Numan in particular, were also disparaged in the British music press of the late 1970s and early 1980s for their German influences[28] and characterised by journalist Mick Farren as the "Adolf Hitler Memorial Space Patrol".[175] In 1983, Morrissey of the Smiths stated that "there was nothing more repellent than the synthesizer".[21] During the decade, objections were raised to the quality of compositions[176] and what was called the limited musicianship of artists.[177] Gary Numan observed "hostility" and what he felt was "ignorance" regarding synth-pop, such as his belief that people "thought machines did it".[178]
OMD frontman Andy McCluskey recalled a great many people "who thought that the equipment wrote the song for you", and asserted: "Believe me, if there was a button on a synth or a drum machine that said 'hit single', I would have pressed it as often as anybody else would have – but there isn't. It was all written by real human beings".[179]
According to Simon Reynolds, in some quarters synthesizers were seen as instruments for "effete poseurs", in contrast to the phallic guitar.
Influence and legacy
By the mid-1980s, synth-pop had helped establish the synthesizer as a primary instrument in mainstream pop music.
American musicians such as
Artists
See also
- Dance-pop
- Electropop
- Schaffel beat, triplet feel popularised in electronic music
- Synthwave
- Wonky pop
- Chillwave
- Vaporwave
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There was a certain amount of hostility to electronic music when it first came along. People didn't think it was real music; they thought machines did it. There was a lot of ignorance, to be honest.
- ^ "Synth Britannia (Part Two: Construction Time Again)". Britannia. 16 October 2009. 26 minutes in. BBC Four. British Broadcasting Corporation.
- ISBN 978-0-571-21570-6
- ^ House, AllMusic, archived from the original on 14 March 2011
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- Daily News. New York. Archivedfrom the original on 11 January 2022.
- ^ Edwards, Gavin (1 July 2008). "In the Studio: Lily Allen Makes "Naughty" Follow-Up". Rolling Stone. Archived from the original on 3 July 2008.
Sources
- S. Borthwick and R. Moy (2004), Popular Music Genres: an Introduction, Edinburgh: Edinburgh University Press
- P. Bussy (2004), Kraftwerk: Man, Machine and Music (3rd ed.), London: SAF
- T. Cateforis (2011), Are We Not New Wave?: Modern Pop at the Turn of the 1980s, Ann Arbor MI: University of Michigan Press
- Collins, Nick; Schedel, Margaret; Wilson, Scott (2013). Electronic Music. Cambridge University Press. ISBN 978-1-107-24454-2.
- Hoffmann, Frank (2004). Encyclopedia of Recorded Sound. Routledge. ISBN 978-1-135-94950-1.
- Jones, Hollin (2006). Music Projects with Propellerhead Reason: Grooves, Beats and Styles from Trip Hop to Techno. PC Publishing. ISBN 978-1-870775-14-4.
- B. R. Parker (2009), Good Vibrations: the Physics of Music, Boston MD: JHU Press
- Simon Reynolds (2005), Rip It Up and Start Again Postpunk 1978–1984, London: Faber and Faber
- J. Stuessy and S. D. Lipscomb (2008), Rock and Roll: its History and Stylistic Development (6th ed.), London: Pearson Prentice Hall
- Trynka, Paul; Bacon, Tony, eds. (1996). Rock Hardware. Balafon Books. ISBN 978-0-87930-428-7.
External links
- Synth-pop at Curlie