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|color=black
|color=black
|stylistic_origins=[[Disco]], [[New Wave music|New Wave]], [[post-punk]], [[glam rock]], [[pop music|pop]], [[krautrock]], [[electronic music|electronic]]
|stylistic_origins=[[Disco]], [[New Wave music|New Wave]], [[post-punk]], [[glam rock]], [[pop music|pop]], [[krautrock]], [[electronic music|electronic]]
|cultural_origins= Mid-late 1970s/Early 1980s in England, [[Europe]], Germany, [[Japan]]
|cultural_origins= Mid-late 1970s & early 1980s in [[Japan]] and [[Europe]] (England & Germany)
|instruments=[[Synthesizer]] – [[Drum machine]] – [[Bass Guitar]] – [[Tape loop]]s – [[Drum kit|Drums]] – [[Guitar]] – [[Music sequencer|Sequencer]] – [[Keyboard instrument|Keyboard]] – [[Vocoder]] – [[Sampler (musical instrument)|Sampler]] – [[Vocals]]
|instruments=[[Synthesizer]] – [[Drum machine]] – [[Bass Guitar]] – [[Tape loop]]s – [[Drum kit|Drums]] – [[Guitar]] – [[Music sequencer|Sequencer]] – [[Keyboard instrument|Keyboard]] – [[Vocoder]] – [[Sampler (musical instrument)|Sampler]] – [[Vocals]]
|popularity= Worldwide Mainstream popularity in the 1980s (first wave) and growing worldwide popularity in the early 2010s (second wave)
|popularity= Worldwide Mainstream popularity in the 1980s (first wave) and growing worldwide popularity in the early 2010s (second wave)
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Mid-twentieth-century [[avant-garde music|avant-garde]] and [[musique concrète]] composers such as [[Karlheinz Stockhausen]] were pioneers in the development of electronic music. However, the instruments were originally large, highly complex, temperamental, and expensive.
Mid-twentieth-century [[avant-garde music|avant-garde]] and [[musique concrète]] composers such as [[Karlheinz Stockhausen]] were pioneers in the development of electronic music. However, the instruments were originally large, highly complex, temperamental, and expensive.


The British [[progressive rock]] group [[Emerson, Lake & Palmer]] were commercially successful with their song "[[Lucky Man (Emerson, Lake & Palmer song)|Lucky Man]]" which featured a solo using the [[Moog synthesizer]].<ref name=malaysia>[http://ecentral.my/news/story.asp?file=/2007/3/2/music/16390129&sec=music Dawn of the plastic age Malaysia Star March 2, 2007]</ref> Rock musicians of the 1970s embraced the synthesizer because it was something new and the synthetic sounds it offered weren’t previously available through any other source.<ref name=malaysia/>
The British [[progressive rock]] group [[Emerson, Lake & Palmer]] were commercially successful with their song "[[Lucky Man (Emerson, Lake & Palmer song)|Lucky Man]]" which featured a solo using the [[Moog synthesizer]].<ref name=malaysia>[http://ecentral.my/news/story.asp?file=/2007/3/2/music/16390129&sec=music Dawn of the plastic age Malaysia Star March 2, 2007]</ref> Rock musicians of the 1970s embraced the synthesizer because it was something new and the synthetic sounds it offered weren’t previously available through any other source.<ref name=malaysia/>


⚫
[[File:Kraftwerk live in Stockholm.jpg|thumb|right|250px|[[Kraftwerk]], an electronic band that had a major influence on synthpop.]]
⚫
In 1972, jazz musician [[Stan Free]], under the pseudonym [[Hot Butter]] had a top 10 hit in the United States and United Kingdom with a cover of the 1969 [[Gershon Kingsley]] song "[[Popcorn (instrumental)|Popcorn]]". It is considered a forerunner to synthpop due to the use of the Moog synthesizer.<ref>[{{Allmusic|class=artist|id=p25238|pure_url=yes}} Hot Butter bio by Allmusic]</ref> Notably [[David Bowie]], [[Roxy Music]], and [[Kraftwerk]] influenced the first wave of British Synthpop.<ref name=Allmusic>[{{Allmusic|class=explore|id=style/d18|pure_url=yes}} Allmusic Synthpop Genre]</ref>


⚫
In 1972, jazz musician [[Stan Free]], under the pseudonym [[Hot Butter]] had a top 10 hit in the United States and United Kingdom with a cover of the 1969 [[Gershon Kingsley]] song "[[Popcorn (instrumental)|Popcorn]]". It is considered a forerunner to synthpop due to the use of the Moog synthesizer.<ref>[{{Allmusic|class=artist|id=p25238|pure_url=yes}} Hot Butter bio by Allmusic]</ref> [[Isao Tomita]]'s synthesized music in the early 1970s is also considered a forerunner to synthpop.<ref>{{cite web|title=Snowflakes Are Dancing|work=[[Billboard (magazine)|Billboard]]|url=http://www.billboard.com/artist/tomita/25745#/album/tomita/snowflakes-are-dancing-electronic-performances/85902/review|accessdate=2011-05-28}}</ref> [[David Bowie]], [[Roxy Music]] and [[Kraftwerk]] also influenced the first wave of British synthpop.<ref name=Allmusic>[{{Allmusic|class=explore|id=style/d18|pure_url=yes}} Allmusic Synthpop Genre]</ref>
⚫
===Synthpop takes shape (1977–81)===

⚫
===Synthpop takes shape (1977–1981)===
<!-- Reminder that all material MUST BE CITED. In addition this is an article on synthpop not a listing of everybody's favorite synthpop group. Only the most prominent acts need to be listed here. All other acts subject to deletion. -->
<!-- Reminder that all material MUST BE CITED. In addition this is an article on synthpop not a listing of everybody's favorite synthpop group. Only the most prominent acts need to be listed here. All other acts subject to deletion. -->

⚫
[[File:Kraftwerk live in Stockholm.jpg|thumb|right|250px|[[Kraftwerk]], one of the first bands to popularize synthpop.]]
[[Giorgio Moroder]] paired up with [[Donna Summer]] in 1977 to release the electronic [[disco]] song "[[I Feel Love]]". While a disco song first and foremost, the programmed, arpeggiated beats had a profound impact on the bands which would soon be known as synthpop. The American duo [[Suicide (band)|Suicide]], who arose from the [[post-punk]] scene in New York utilized drum machines and synthesizers in a strange hybrid between electronics and post punk on their [[Suicide (album)|eponymous 1977 album]].<ref>D. Nobakht, ''Suicide: No Compromise'' (SAF Publishing Ltd, 2004), p. 136.</ref> That same year, [[Ultravox]] member [[Warren Cann]] purchased a [[Roland Corporation|Roland]] TR-77 drum machine, which was first featured in their October 1977 single release "[[Hiroshima Mon Amour]]".<ref>"The Man Who Dies Every Day Ultravox", ''All Music Guides'', {{Allmusic|class=song|id=t258253|pure_url=yes}} retrieved 25/07/09.</ref>
[[Giorgio Moroder]] paired up with [[Donna Summer]] in 1977 to release the electronic [[disco]] song "[[I Feel Love]]". While a disco song first and foremost, the programmed, arpeggiated beats had a profound impact on the bands which would soon be known as synthpop. The American duo [[Suicide (band)|Suicide]], who arose from the [[post-punk]] scene in New York utilized drum machines and synthesizers in a strange hybrid between electronics and post punk on their [[Suicide (album)|eponymous 1977 album]].<ref>D. Nobakht, ''Suicide: No Compromise'' (SAF Publishing Ltd, 2004), p. 136.</ref> That same year, [[Ultravox]] member [[Warren Cann]] purchased a [[Roland Corporation|Roland]] TR-77 drum machine, which was first featured in their October 1977 single release "[[Hiroshima Mon Amour]]".<ref>"The Man Who Dies Every Day Ultravox", ''All Music Guides'', {{Allmusic|class=song|id=t258253|pure_url=yes}} retrieved 25/07/09.</ref>


[[File:YMO2008(cropped).jpg|thumb|150px|left|[[Yellow Magic Orchestra]] helped pioneer synthpop during the late 1970s. The above picture is from 2008.]]
⚫
In 1978, the first incarnation of [[The Human League]] released their début single "[[Being Boiled]]", in the US, [[Devo]] moved towards a more electronic sound, and in Japan, The [[Yellow Magic Orchestra]] released their first album, [[Yellow Magic Orchestra (album)|of the same name]], followed by their second album ''[[Solid State Survivor]]'' (1979) which further emphasized electronic music. Others were soon to follow, including [[Tubeway Army]], a little known outfit from West London, who dropped their [[punk rock]] image and jumped on the band wagon, topping the UK charts in the summer of 1979 with the single "[[Are Friends Electric?]]". This prompted the singer, [[Gary Numan]] to go solo and in the same year he released the [[Kraftwerk]] inspired album, ''[[The Pleasure Principle (Gary Numan album)|The Pleasure Principle]]'' and topped the charts for the second time with the single "[[Cars (song)|Cars]]".<ref>J. Miller, ''Stripped: Depeche Mode'' (Omnibus Press, 2004), p. 21.</ref>

In 1978, [[Yellow Magic Orchestra]] (YMO) helped pioneer synthpop with their [[Yellow Magic Orchestra (album)|debut album]], followed by their second album ''[[Solid State Survivor]]'' (1979).<ref name="scaruffi">{{citation|title=A history of rock music 1951-2000|author=Piero Scaruffi|publisher=[[iUniverse]]|year=2003|isbn=0595295657|page=234|url=http://books.google.co.uk/books?id=04KtwVkHNv0C&pg=PA234|accessdate=2011-05-26}}</ref> While earlier electronic music was often bleak and [[dystopia]]n,<ref name="guardian_ymo">{{cite web|last=Lewis|first=John|title=Back to the future: Yellow Magic Orchestra helped usher in electronica - and they may just have invented hip-hop, too|url=http://www.guardian.co.uk/music/2008/jul/04/electronicmusic.filmandmusic11|work=[[The Guardian]]|accessdate=25 May 2011|date=4 July 2008}}</ref> or [[Minimalism|minimalistic]] and statuesque,<ref name="bogdanov_2001">{{cite book|last=Bogdanov|first=Vladimir|title=All music guide to electronica: the definitive guide to electronic music|year=2001|publisher=[[Hal Leonard Corporation|Backbeat Books]]|isbn=0879306289|url=http://books.google.co.uk/books?id=GJNXLSBlL7IC&pg=PT516|edition=4th|accessdate=26 May 2011|page=516}}</ref> such as the "[[Electropop|robot pop]]"<ref>{{allmusic|id=p4706|label=Kraftwerk}}</ref> of Kraftwerk,<ref name="bogdanov_2001"/> YMO introduced a more "joyous and liberating" approach,<ref name="guardian_ymo"/> setting a template for electronic pop that was less minimalistic and made more varying use of synthesizer lines, often producing "fun-loving and breezy" music,<ref name="bogdanov_2001"/> while expanding its scope by drawing from a wider range of influences,<ref name="sicko_brewster">{{citation|title=Techno Rebels|author=Dan Sicko & Bill Brewster|edition=2nd|publisher=[[Wayne State University Press]]|year=2010|isbn=0814334385|pages=27-8|url=http://books.google.co.uk/books?id=h6TNjUt-QrkC&pg=PA27|accessdate=2011-05-28}}</ref> from [[Video game music|video game sounds]]<ref name="guardian_ymo"/><ref name="wire_2002">{{citation|title=The Wire, Issues 221-226|work=[[The Wire (magazine)|The Wire]]|year=2002|page=44|url=http://books.google.co.uk/books?id=qyFMAAAAYAAJ|accessdate=2011-05-25}}</ref> and [[Music of Asia|Asian music]]<ref>{{cite web|author=Dominique Leone|date=July 19, 2005|title=Hosono & Yokoo: Cochin Moon|publisher=[[Pitchfork Media]]|url=http://pitchfork.com/reviews/albums/4016-cochin-moon/|accessdate=2011-05-26}}</ref> to [[disco]],<ref name="allmusic_ymo">{{cite web|url={{Allmusic|class=artist|id=p5886|pure_url=yes}}|title=Yellow Magic Orchestra profile|publisher=[[Allmusic]]|accessdate=2009-06-03}}</ref> [[exotica]], and Western [[pop music]].<ref name="sicko_brewster"/> YMO went on to influence later synthpop acts such as [[Ultravox]], [[John Foxx]], Gary Numan, and [[Duran Duran]], as well as [[Todd Rundgren]] and [[Eric Clapton]].<ref name="guardian_ymo"/>

⚫
Also in 1978, [[The Human League]]'s début single "[[Being Boiled]]" was released, and in the US, [[Devo]] began moving towards a more electronic sound. Others were soon to follow, including [[Tubeway Army]], a little known outfit from West London, who dropped their [[punk rock]] image and jumped on the band wagon, topping the UK charts in the summer of 1979 with the single "[[Are Friends Electric?]]". This prompted the singer, [[Gary Numan]] to go solo and in the same year he released the [[Kraftwerk]] inspired album, ''[[The Pleasure Principle (Gary Numan album)|The Pleasure Principle]]'' and topped the charts for the second time with the single "[[Cars (song)|Cars]]".<ref>J. Miller, ''Stripped: Depeche Mode'' (Omnibus Press, 2004), p. 21.</ref>


This Zeitgeist of revolution in electronic music performance and recording/production was encapsulated by then would be record producer, [[Trevor Horn]] of [[The Buggles]] in the international hit "[[Video Killed the Radio Star]]".
This Zeitgeist of revolution in electronic music performance and recording/production was encapsulated by then would be record producer, [[Trevor Horn]] of [[The Buggles]] in the international hit "[[Video Killed the Radio Star]]".


Giorgio Moroder collaborated with the band [[Sparks (band)|Sparks]] on their album, ''[[No. 1 In Heaven]]''. Others were soon to follow, including Frank Tovey, who performed under the name [[Fad Gadget]]. Tovey who was signed to Daniel Miller's [[Mute Records]] and made use of "found objects" in his recordings such as [[bottles]] and [[razors]]. Daniel Miller himself had a role in the emerging futurist movement as a performer under the name [[The Normal]] which released a one-off single ''[[Warm Leatherette]].'' Although the single did not chart, it became a [[cult favorite]] and has been covered by many artists since its release, including [[Grace Jones]], [[Duran Duran]] and [[Nine Inch Nails]].
Giorgio Moroder collaborated with the band [[Sparks (band)|Sparks]] on their album, ''[[No. 1 In Heaven]]''. Others were soon to follow, including Frank Tovey, who performed under the name [[Fad Gadget]]. Tovey who was signed to Daniel Miller's [[Mute Records]] and made use of "found objects" in his recordings such as [[bottles]] and [[razors]]. Daniel Miller himself had a role in the emerging futurist movement as a performer under the name [[The Normal]] which released a one-off single ''[[Warm Leatherette]].'' Although the single did not chart, it became a [[cult favorite]] and has been covered by many artists since its release, including [[Grace Jones]], Duran Duran and [[Nine Inch Nails]].


===Widespread popularity and sound evolution (1982–90)===
===Widespread popularity and sound evolution (1982–1990)===
[[File:Depeche Mode 2006.jpg|thumb|250px|[[Depeche Mode]], one of the most successful synthpop bands of all time.]]
[[File:Depeche Mode 2006.jpg|thumb|250px|[[Depeche Mode]], one of the most successful synthpop bands of all time.]]


The sounds of synthesizers came to dominate the pop music of the early 1980s as well as replacing disco in dance clubs in Europe. Other successful synthpop artists of this era included [[Alphaville (band)|Alphaville]], [[Soft Cell]], [[Depeche Mode]],<ref name=malaysia/> [[Erasure]], [[New Order]], [[Blancmange (band)|Blancmange]],<ref>{{Allmusic|class=artist|id=p15879|pure_url=yes}}</ref> The [[Human League]],<ref name=malaysia/> [[Frankie Goes to Hollywood]],<ref name="malaysia"/> [[Pet Shop Boys]],<ref name=malaysia/> [[Thomas Dolby]], [[Yazoo (band)|Yazoo]], [[Art of Noise]], [[Heaven 17]], [[Orchestral Manoeuvres in the Dark|OMD]], [[Tears for Fears]], [[Thompson Twins]], [[Eurythmics]], [[a-ha]], [[Modern Talking]], [[Real Life (band)|Real Life]], [[Camouflage (band)|Camouflage]], and others are bands of the Synthpop style.
The emergence of synthpop is considered to be "perhaps the single most significant event in [[melodic music]] since [[Beat music|Mersey-beat]]."<ref name="scaruffi"/> The sounds of synthesizers came to dominate the pop music of the early 1980s<ref name=malaysia/> as well as replacing disco in dance clubs across Japan<ref name="sarasota">{{cite journal|title=Computer rock music gaining fans|journal=[[Sarasota Journal]]|date=August 18, 1980|url=http://news.google.com/newspapers?id=7s4mAAAAIBAJ&sjid=h44EAAAAIBAJ&pg=4481,2128223|accessdate=2011-05-25|page=8}}</ref> and Europe. Other successful synthpop artists of this era included [[Alphaville (band)|Alphaville]], [[Soft Cell]], [[Depeche Mode]],<ref name=malaysia/> [[Erasure]], [[New Order]], [[Blancmange (band)|Blancmange]],<ref>{{Allmusic|class=artist|id=p15879|pure_url=yes}}</ref> The [[Human League]],<ref name=malaysia/> [[Frankie Goes to Hollywood]],<ref name="malaysia"/> [[Pet Shop Boys]],<ref name=malaysia/> [[Thomas Dolby]], [[Yazoo (band)|Yazoo]], [[Art of Noise]], [[Heaven 17]], [[Orchestral Manoeuvres in the Dark|OMD]], [[Tears for Fears]], [[Thompson Twins]], [[Eurythmics]], [[a-ha]], [[Modern Talking]], [[Real Life (band)|Real Life]], [[Camouflage (band)|Camouflage]], and others are bands of the Synthpop style.


[[Polyphonic]] [[analogue]] synthesizers were used during this period and the use of synthesizers were associated with the [[New Romantic]] movement.<ref name=malaysia/>
[[Polyphonic]] [[analogue]] synthesizers were used during this period and the use of synthesizers were associated with the [[New Romantic]] movement.<ref name=malaysia/>


In early synthpop the synthesizer stood out and the music sounded eerie, sterile and slightly menacing. By the mid 1980s the technology had improved to the point that synthpop acts used the instrument to create a sound that resembled many instruments and allowed mainstream rock and pop acts to incorporate the synthesizer into their sound. At this point the synthesizer did not stand out and the differences between synthpop and mainstream music started to decrease.<ref name=Allmusic/><ref name=Cateforis>[http://iaspm-us.net/wordpress/wp-content/uploads/2010/09/Cateforis.pdf The Death of New Wave] Theo Cateforis Assistant Professor of Music History and Cultures in the Department of Art and Music Histories at Syracuse University 2009</ref> According to music writer [[Simon Reynolds]] the hallmark of original synthpop was its "emotional, at times operatic singers" such as [[Marc Almond]], [[Alison Moyet]] and [[Annie Lennox]].<ref>[http://www.guardian.co.uk/music/musicblog/2010/jan/22/eighties-revival-decade The 1980s revival that lasted an entire decade] by [[Simon Reynolds]] for [[The Guardian]] 22 January 2010</ref>
In early synthpop the synthesizer stood out and the music sounded eerie, sterile and slightly menacing. By the mid 1980s the technology had improved to the point that synthpop acts used the instrument to create a sound that resembled many instruments and allowed mainstream rock and pop acts to incorporate the synthesizer into their sound. At this point the synthesizer did not stand out and the differences between synthpop and mainstream music started to decrease.<ref name=Allmusic/><ref name=Cateforis>[http://iaspm-us.net/wordpress/wp-content/uploads/2010/09/Cateforis.pdf The Death of New Wave] Theo Cateforis Assistant Professor of Music History and Cultures in the Department of Art and Music Histories at Syracuse University 2009</ref> According to music writer [[Simon Reynolds]] the hallmark of original synthpop was its "emotional, at times operatic singers" such as [[Marc Almond]], [[Alison Moyet]] and [[Annie Lennox]].<ref>[http://www.guardian.co.uk/music/musicblog/2010/jan/22/eighties-revival-decade The 1980s revival that lasted an entire decade] by [[Simon Reynolds]] for [[The Guardian]] 22 January 2010</ref>
Line 56: Line 62:
By 1991 in the United States synthpop was losing its commercial viability as alternative radio stations were responding to the popularity of [[grunge rock]].<ref name=Voice/><ref>[{{Allmusic|class=artist|id=p12521|pure_url=yes}} Allmusic bio Clebrate The Nun]"When Celebrate the Nun's second album, Continuous, appeared in 1991, synth pop was already starting to lose its commercial viability in the U.S. Alternative radio stations began tightening their play lists to satiate America's newfound craving for grunge"</ref> Exceptions during the decade were [[Savage Garden]], [[The Rentals]], and [[The Moog Cookbook]].<ref name=Voice/>
By 1991 in the United States synthpop was losing its commercial viability as alternative radio stations were responding to the popularity of [[grunge rock]].<ref name=Voice/><ref>[{{Allmusic|class=artist|id=p12521|pure_url=yes}} Allmusic bio Clebrate The Nun]"When Celebrate the Nun's second album, Continuous, appeared in 1991, synth pop was already starting to lose its commercial viability in the U.S. Alternative radio stations began tightening their play lists to satiate America's newfound craving for grunge"</ref> Exceptions during the decade were [[Savage Garden]], [[The Rentals]], and [[The Moog Cookbook]].<ref name=Voice/>


During the 1990s the influence of 1980s New Wave Synthpop could be seen in various incarnations of [[Eurodisco]] and [[trance music|trance]].<ref name=decade>[http://www.yaledailynews.com/scene/scene-cover/2009/10/23/decade-never-dies/ The decade that never dies Still ’80s Fetishizing in ’09 Yale Daily News October 23, 2009]</ref><ref name=StJames>[http://findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419100891/pg_1?tag=artBody;col1 St. James encyclopedia of Pop Culture]</ref> In Europe underground and counterculture bands loosely labeled as [[electronic body music]]<ref>[{{Allmusic|class=artist|id=p13004|pure_url=yes}} Front 242 Allmusic bio]</ref> The band [[Freezepop]] gained popularity in the video game market.<ref>[{{Allmusic|class=artist|id=p527954|pure_url=yes}} Freezepop Allmusic bio]</ref>
During the 1990s the influence of 1980s New Wave Synthpop could be seen in various incarnations of [[Eurodisco]] and [[trance music|trance]].<ref name=decade>[http://www.yaledailynews.com/scene/scene-cover/2009/10/23/decade-never-dies/ The decade that never dies Still ’80s Fetishizing in ’09 Yale Daily News October 23, 2009]</ref><ref name=StJames>[http://findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419100891/pg_1?tag=artBody;col1 St. James encyclopedia of Pop Culture]</ref> In Europe underground and counterculture bands loosely labeled as [[electronic body music]]<ref>[{{Allmusic|class=artist|id=p13004|pure_url=yes}} Front 242 Allmusic bio]</ref> The band [[Freezepop]] gained popularity in the [[video game]] market.<ref>[{{Allmusic|class=artist|id=p527954|pure_url=yes}} Freezepop Allmusic bio]</ref>


By the end of the 1990s many of the 1980s acts had been dropped by their labels and added other elements to their sound.<ref name=Voice/>
By the end of the 1990s many of the 1980s acts had been dropped by their labels and added other elements to their sound.<ref name=Voice/>

Revision as of 20:47, 28 May 2011

Synthpop
Stylistic originsDisco, New Wave, post-punk, glam rock, pop, krautrock, electronic
Cultural originsMid-late 1970s & early 1980s in Japan and Europe (England & Germany)
Typical instrumentsSynthesizer – Drum machine – Bass Guitar – Tape loops – Drums – Guitar – Sequencer – Keyboard – Vocoder – Sampler – Vocals
Derivative formsElectroclash, ambient pop, industrial
Subgenres
Electropop, futurepop
(complete list)
Fusion genres
Synthpunk
Regional scenes
Coldwave

Synthpop is a genre of music in which the synthesizer is the dominant musical instrument. It originated as part of the New Wave movement of the late-1970s to the mid-1980s, and it has continued to exist and develop.

Characteristics

While most current popular music in the industrialized world is realized via electronic instruments, synthpop has its own stylistic tendencies which differentiate it from other music produced by the same means. These include the exploitation of artificiality (i.e., the synthesis of sounds from waveforms) where the synthesizers are not used to imitate acoustic instruments, the use of mechanical sounding rhythms, vocal arrangements as a counterpoint to the artificiality of the instruments, and ostinato patterns as an effect. Synthpop song structures are generally similar to those of other popular music.

History

Influences

Mid-twentieth-century avant-garde and musique concrète composers such as Karlheinz Stockhausen were pioneers in the development of electronic music. However, the instruments were originally large, highly complex, temperamental, and expensive.

The British progressive rock group Emerson, Lake & Palmer were commercially successful with their song "Lucky Man" which featured a solo using the Moog synthesizer.[1] Rock musicians of the 1970s embraced the synthesizer because it was something new and the synthetic sounds it offered weren’t previously available through any other source.[1]

Kraftwerk, an electronic band that had a major influence on synthpop.

In 1972, jazz musician Stan Free, under the pseudonym Hot Butter had a top 10 hit in the United States and United Kingdom with a cover of the 1969 Gershon Kingsley song "Popcorn". It is considered a forerunner to synthpop due to the use of the Moog synthesizer.[2] Isao Tomita's synthesized music in the early 1970s is also considered a forerunner to synthpop.[3] David Bowie, Roxy Music and Kraftwerk also influenced the first wave of British synthpop.[4]

Synthpop takes shape (1977–1981)

Giorgio Moroder paired up with Donna Summer in 1977 to release the electronic disco song "I Feel Love". While a disco song first and foremost, the programmed, arpeggiated beats had a profound impact on the bands which would soon be known as synthpop. The American duo Suicide, who arose from the post-punk scene in New York utilized drum machines and synthesizers in a strange hybrid between electronics and post punk on their eponymous 1977 album.[5] That same year, Ultravox member Warren Cann purchased a Roland TR-77 drum machine, which was first featured in their October 1977 single release "Hiroshima Mon Amour".[6]

Yellow Magic Orchestra helped pioneer synthpop during the late 1970s. The above picture is from 2008.

In 1978, Yellow Magic Orchestra (YMO) helped pioneer synthpop with their debut album, followed by their second album Solid State Survivor (1979).[7] While earlier electronic music was often bleak and dystopian,[8] or minimalistic and statuesque,[9] such as the "robot pop"[10] of Kraftwerk,[9] YMO introduced a more "joyous and liberating" approach,[8] setting a template for electronic pop that was less minimalistic and made more varying use of synthesizer lines, often producing "fun-loving and breezy" music,[9] while expanding its scope by drawing from a wider range of influences,[11] from video game sounds[8][12] and Asian music[13] to disco,[14] exotica, and Western pop music.[11] YMO went on to influence later synthpop acts such as Ultravox, John Foxx, Gary Numan, and Duran Duran, as well as Todd Rundgren and Eric Clapton.[8]

Also in 1978, The Human League's début single "Being Boiled" was released, and in the US, Devo began moving towards a more electronic sound. Others were soon to follow, including Tubeway Army, a little known outfit from West London, who dropped their punk rock image and jumped on the band wagon, topping the UK charts in the summer of 1979 with the single "Are Friends Electric?". This prompted the singer, Gary Numan to go solo and in the same year he released the Kraftwerk inspired album, The Pleasure Principle and topped the charts for the second time with the single "Cars".[15]

This Zeitgeist of revolution in electronic music performance and recording/production was encapsulated by then would be record producer, Trevor Horn of The Buggles in the international hit "Video Killed the Radio Star".

Giorgio Moroder collaborated with the band Sparks on their album, No. 1 In Heaven. Others were soon to follow, including Frank Tovey, who performed under the name Fad Gadget. Tovey who was signed to Daniel Miller's Mute Records and made use of "found objects" in his recordings such as bottles and razors. Daniel Miller himself had a role in the emerging futurist movement as a performer under the name The Normal which released a one-off single Warm Leatherette. Although the single did not chart, it became a cult favorite and has been covered by many artists since its release, including Grace Jones, Duran Duran and Nine Inch Nails.

Widespread popularity and sound evolution (1982–1990)

Depeche Mode, one of the most successful synthpop bands of all time.

The emergence of synthpop is considered to be "perhaps the single most significant event in melodic music since Mersey-beat."[7] The sounds of synthesizers came to dominate the pop music of the early 1980s[1] as well as replacing disco in dance clubs across Japan[16] and Europe. Other successful synthpop artists of this era included Alphaville, Soft Cell, Depeche Mode,[1] Erasure, New Order, Blancmange,[17] The Human League,[1] Frankie Goes to Hollywood,[1] Pet Shop Boys,[1] Thomas Dolby, Yazoo, Art of Noise, Heaven 17, OMD, Tears for Fears, Thompson Twins, Eurythmics, a-ha, Modern Talking, Real Life, Camouflage, and others are bands of the Synthpop style.

Polyphonic analogue synthesizers were used during this period and the use of synthesizers were associated with the New Romantic movement.[1]

In early synthpop the synthesizer stood out and the music sounded eerie, sterile and slightly menacing. By the mid 1980s the technology had improved to the point that synthpop acts used the instrument to create a sound that resembled many instruments and allowed mainstream rock and pop acts to incorporate the synthesizer into their sound. At this point the synthesizer did not stand out and the differences between synthpop and mainstream music started to decrease.[4][18] According to music writer Simon Reynolds the hallmark of original synthpop was its "emotional, at times operatic singers" such as Marc Almond, Alison Moyet and Annie Lennox.[19]

Throughout the United States, where synthpop is considered a sub genre of New Wave,[4][18] the genre became popular, in large part due to the cable music channel MTV.[18] In addition, filmmaker John Hughes also played a major role in popularizing the genre through films such as Sixteen Candles, The Breakfast Club, and Pretty in Pink.[20]

At the end of the 1980s with the help of a gay audience Erasure, Information Society, Anything Box, and Red Flag made headway on the United States dance charts.[21][22]

Declining popularity and continuing influence (1991–2000)

By 1991 in the United States synthpop was losing its commercial viability as alternative radio stations were responding to the popularity of grunge rock.[21][23] Exceptions during the decade were Savage Garden, The Rentals, and The Moog Cookbook.[21]

During the 1990s the influence of 1980s New Wave Synthpop could be seen in various incarnations of Eurodisco and trance.[24][25] In Europe underground and counterculture bands loosely labeled as electronic body music[26] The band Freezepop gained popularity in the video game market.[27]

By the end of the 1990s many of the 1980s acts had been dropped by their labels and added other elements to their sound.[21]

Revival in the 21st century

The 2000 Kylie Minogue hit single "Spinning Around" heralded a new era of synthpop that continued to be influential in the late 2000s.[28]

Lights, a Canadian synthpop singer who became popular in the late 2000s.

Acts described as synthpop in recent years include Hot Chip, Junior Boys, LCD Soundsystem, Cut Copy, Hurts,[29] Mike Posner,[30] Lights,[31] Chromeo,[32] Metric, Little Boots,[33] Owl City (who achieved a number 1 US single),[34] Ladytron, Phoenix,[35] Passion Pit,[36] The Presets,[37] Ladyhawke,[38] Crystal Castles,[39] La Roux,[40] Robyn,[41][42] Röyksopp,[43] Tesla Boy,[44] and Shy Child.[45]

Artists

Main article: List of synthpop artists

See also

References

  1. ^ a b c d e f g h Dawn of the plastic age Malaysia Star March 2, 2007
  2. ^ Hot Butter bio by Allmusic
  3. ^ "Snowflakes Are Dancing". Billboard. Retrieved 2011-05-28.
  4. ^ a b c Allmusic Synthpop Genre
  5. ^ D. Nobakht, Suicide: No Compromise (SAF Publishing Ltd, 2004), p. 136.
  6. ^ "The Man Who Dies Every Day Ultravox", All Music Guides, https://www.allmusic.com/song/t258253 retrieved 25/07/09.
  7. ^ a b Piero Scaruffi (2003), A history of rock music 1951-2000, iUniverse, p. 234, ISBN 0595295657, retrieved 2011-05-26
  8. ^ a b c d Lewis, John (4 July 2008). "Back to the future: Yellow Magic Orchestra helped usher in electronica - and they may just have invented hip-hop, too". The Guardian. Retrieved 25 May 2011.
  9. ^ a b c Bogdanov, Vladimir (2001). All music guide to electronica: the definitive guide to electronic music (4th ed.). Backbeat Books. p. 516. ISBN 0879306289. Retrieved 26 May 2011.
  10. ^ Kraftwerk at AllMusic
  11. ^ a b Dan Sicko & Bill Brewster (2010), Techno Rebels (2nd ed.), Wayne State University Press, pp. 27–8, ISBN 0814334385, retrieved 2011-05-28
  12. ^ "The Wire, Issues 221-226", The Wire, p. 44, 2002, retrieved 2011-05-25
  13. ^ Dominique Leone (July 19, 2005). "Hosono & Yokoo: Cochin Moon". Pitchfork Media. Retrieved 2011-05-26.
  14. ^ "Yellow Magic Orchestra profile". Allmusic. Retrieved 2009-06-03.
  15. ^ J. Miller, Stripped: Depeche Mode (Omnibus Press, 2004), p. 21.
  16. ^ "Computer rock music gaining fans". Sarasota Journal: 8. August 18, 1980. Retrieved 2011-05-25.
  17. ^ https://www.allmusic.com/artist/p15879
  18. ^ a b c The Death of New Wave Theo Cateforis Assistant Professor of Music History and Cultures in the Department of Art and Music Histories at Syracuse University 2009
  19. ^ The 1980s revival that lasted an entire decade by Simon Reynolds for The Guardian 22 January 2010
  20. ^ Why John Hughes Still Matters
  21. ^ a b c d Synthpop Flocks Like Seagulls Long Island Voice October 12, 1999
  22. ^ Allmusic Red Flag bio[dead link]
  23. ^ Allmusic bio Clebrate The Nun"When Celebrate the Nun's second album, Continuous, appeared in 1991, synth pop was already starting to lose its commercial viability in the U.S. Alternative radio stations began tightening their play lists to satiate America's newfound craving for grunge"
  24. ^ The decade that never dies Still ’80s Fetishizing in ’09 Yale Daily News October 23, 2009
  25. ^ St. James encyclopedia of Pop Culture
  26. ^ Front 242 Allmusic bio
  27. ^ Freezepop Allmusic bio
  28. ^ Synth pop: Encyclopedia of Modern Music The Times 1 February 2009
  29. ^ Are these the best albums of 2010? Sydney Star Observer December 23, 2010
  30. ^ 4 Warped acts of note Minneapolis Star Tribune July 29, 2010
  31. ^ Allmusic Lights bio
  32. ^ Quickie Q&A: Chromeo | Metromix Denver
  33. ^ Hoffman, K. Ross. "Hands – Little Boots". Allmusic. Retrieved 2011-01-08. Although the album, in typical 21st century pop fashion, features a plethora of producers -- including Goddard, chart champion (and Gaga accomplice) RedOne, the increasingly omnipresent Greg Kurstin (Allen, Minogue), and Bertine Zetlitz collaborator Fred Ball -- and a corresponding variety of musical moods -- the brash and buzzy strut of 'New in Town,' the decidedly Hot Chip-y clank'n'chug of 'Meddle,' the darkly glossy trip-pop of 'Hearts Collide' -- they seem to have condensed on a consistent, elegantly simple synth pop vibe that sets up a sonically unified, satisfyingly streamlined listen.
  34. ^ Owl City Chart History Billboard
  35. ^ "Phoenix and the hit Liszt". StarTribune.com. 2009-06-21. Retrieved 2010-09-10.
  36. ^ Turenne, Martin (2009-10-08). "Passion Pit's synth-pop rebels put guitars aside | Vancouver, Canada". Straight.com. Retrieved 2010-09-10.
  37. ^ "The Presets Interview - Interview with the Presets". Dancemusic.about.com. 2010-06-11. Retrieved 2010-09-10.
  38. ^ Lilia, Nisha (2009-02-27). "Ladyhawke: flying high". Telegraph. Retrieved 2010-09-10.
  39. ^ Phares, Heather. Crystal Castles (II) review at AllMusic. Retrieved 2011-01-05.
  40. ^ Phares, Heather. La Roux at AllMusic. Retrieved 2011-01-05.
  41. ^ and Robyn Reinvents Herself — With A Little Help From A Snoop Dogg Remix 2008 April 14 MTV
  42. ^ Robyn: Robyn review Virgin Media
  43. ^ "Album Reviews: Röyksopp: Junior". Pitchfork. 2009-03-25. Retrieved 2010-09-10.
  44. ^ Telsa Boy Review Kviv Post April 16, 2009
  45. ^ CMJ MUSIC MARATHON, In a kingdom so diverse, no single band grabs the crown Newsday September 19, 2005

External links

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