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The emergence of synthpop has been described as "perhaps the single most significant event in [[melodic music]] since [[Beat music|Mersey-beat]]."<ref name="scaruffi"/> Particularly through their adoption by the [[New Romantics|New Romantic]] movement, synthesizers came to dominate the pop music of the early 1980s<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> 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.
The emergence of synthpop has been described as "perhaps the single most significant event in [[melodic music]] since [[Beat music|Mersey-beat]]."<ref name="scaruffi"/> Particularly through their adoption by the [[New Romantics|New Romantic]] movement, synthesizers came to dominate the pop music of the early 1980s<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> 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.


The early sound of synthpop was "eerie, sterile, and vaguely menacing", however, the definition of [[MIDI]] in 1982 and the development of [[digital audio]] made the creation and rangel of purely electronic sounds much easier.<ref>M. Russ, ''Sound Synthesis and Sampling'' (Elsevier, 3nd edn., 2004), ISBN 0240521056, p. 66.</ref>
The early sound of synthpop was "eerie, sterile, and vaguely menacing", however, the definition of [[MIDI]] in 1982 and the development of [[digital audio]] made the creation and range of purely electronic sounds much easier.<ref>M. Russ, ''Sound Synthesis and Sampling'' (Elsevier, 3nd edn., 2004), ISBN 0240521056, p. 66.</ref>
More commercially orientated bands like [[Duran Duran]] adopted dance beats to produce a catchier and warmer sound.<ref name=AMsynthpop/><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> Duran Duran were soon followed into the charts by large number of bands who used synthesizers to create three-minute pop singles. These included members of the [[New Romantic]] movement in the UK, who adopted an elaborate visual style that combined elements of [[glam rock]], [[science fiction]] and [[romanticism]] such as [[Spandau Ballet]], [[A Flock of Seagulls]], [[Culture Club]], [[Talk Talk]] and the [[Eurythmics]], sometimes using synthesizers to replace all other instruments.<ref name=Scaruffi2003>P. Scaruffi, ''A History of Rock Music: 1951–2000'' (iUniverse, 2003), ISBN 0-595-29565-7, pp. 234–5.</ref> Other successful synthpop artists of this era included [[Alphaville (band)|Alphaville]], [[Soft Cell]], [[New Order]], [[Blancmange (band)|Blancmange]],<ref>{{Allmusic|class=artist|id=p15879|pure_url=yes}}</ref> [[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]], [[a-ha]], [[Modern Talking]], [[Real Life (band)|Real Life]], [[Camouflage (band)|Camouflage]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], [[The Beloved]], [[ABC (band)|ABC]] and [[Level 42]].
More commercially orientated bands like [[Duran Duran]] adopted dance beats to produce a catchier and warmer sound.<ref name=AMsynthpop/><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> They were soon followed into the charts by large number of bands who used synthesizers to create three-minute pop singles. These included members of the [[New Romantic]] movement in the UK, who adopted an elaborate visual style that combined elements of [[glam rock]], [[science fiction]] and [[romanticism]] such as [[Spandau Ballet]], [[A Flock of Seagulls]], [[Culture Club]], [[Talk Talk]] and the [[Eurythmics]], sometimes using synthesizers to replace all other instruments.<ref name=Scaruffi2003>P. Scaruffi, ''A History of Rock Music: 1951–2000'' (iUniverse, 2003), ISBN 0-595-29565-7, pp. 234–5.</ref> Other successful synthpop artists of this era included [[Alphaville (band)|Alphaville]], [[Soft Cell]], [[New Order]], [[Blancmange (band)|Blancmange]],<ref>{{Allmusic|class=artist|id=p15879|pure_url=yes}}</ref> [[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]], [[a-ha]], [[Modern Talking]], [[Real Life (band)|Real Life]], [[Camouflage (band)|Camouflage]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], [[The Beloved]], [[ABC (band)|ABC]] and [[Level 42]].


Throughout the United States, where synthpop is considered a sub genre of [[New Wave Music|New Wave]],<ref name=Cateforis/> the genre became popular in large part due to the cable music channel [[MTV]], which reached the media capitals of New York City and Los Angeles in 1982.<ref name=Reynolds>[[Simon Reynolds]], ''Rip It Up and Start Again Postpunk 1978–1984'', pp. 340 and 342–3.</ref><ref name=Cateforis/> In addition, filmmaker [[John Hughes (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]].<ref name="MTV">[http://www.mtv.com/movies/news/articles/1633289/story.jhtml Why John Hughes Still Matters]</ref> At the end of the 1980s with the help of a gay audience [[Erasure]], [[Information Society (band)|Information Society]], [[Anything Box]], and [[Red Flag (band)|Red Flag]] made headway on the United States dance charts.<ref name=Voice>[http://www.villagevoice.com/1999-10-12/long-island-voice/synthpop-flocks-like-seagulls/ Synthpop Flocks Like Seagulls Long Island Voice October 12, 1999]</ref><ref>[http://www.allmusic.com/cg/amg.dll Allmusic Red Flag bio]{{dead link|date=December 2010}}</ref>
Throughout the United States, where synthpop is considered a sub genre of [[New Wave Music|New Wave]],<ref name=Cateforis/> the genre became popular in large part due to the cable music channel [[MTV]], which reached the media capitals of New York City and Los Angeles in 1982.<ref name=Reynolds>[[Simon Reynolds]], ''Rip It Up and Start Again Postpunk 1978–1984'', pp. 340 and 342–3.</ref><ref name=Cateforis/> In addition, filmmaker [[John Hughes (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]].<ref name="MTV">[http://www.mtv.com/movies/news/articles/1633289/story.jhtml Why John Hughes Still Matters]</ref> At the end of the 1980s with the help of a gay audience [[Erasure]], [[Information Society (band)|Information Society]], [[Anything Box]], and [[Red Flag (band)|Red Flag]] made headway on the United States dance charts.<ref name=Voice>[http://www.villagevoice.com/1999-10-12/long-island-voice/synthpop-flocks-like-seagulls/ Synthpop Flocks Like Seagulls Long Island Voice October 12, 1999]</ref><ref>[http://www.allmusic.com/cg/amg.dll Allmusic Red Flag bio]{{dead link|date=December 2010}}</ref>

Revision as of 12:06, 16 June 2011

<!This article is in the process of being merged with the electropop article <!During this process any addition of new uncited or unreliably sourced material will be <!deleted in order not to get things off on the wrong foot. After a period of time the <!courtesy of citation needed warnings for good faith edits will be resumed <!As always these and other warnings are a courtesy given at the digression of the editor who sees <!improperly cited additions. <!As always it is up to the editor who adds new material to provide proper citations for them <!and to the best of their ability try to make sure the entry is encyclopedic

"Technopop" redirects here. For the game developer, see Technopop (developer). For the song by The Buggles, see The Age of Plastic.
Synthpop
Stylistic originsDisco, New Wave, post-punk, glam rock, pop, krautrock, electronic
Cultural originsMid-late 1970s & early 1980s in Germany, Japan, England
Typical instrumentsSynthesizer – Drum machine – Bass Guitar – Tape loops – Drums – Guitar – Sequencer – Keyboard – Vocoder – Sampler – Vocals
Derivative formsElectroclash, ambient pop, industrial, digital hardcore
Subgenres
Futurepop,
(complete list)
Fusion genres
Synthpunk
Regional scenes
Coldwave

Synthpop (also known as electropop, or technopop[1]) 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. According to music writer Simon Reynolds the hallmark of 1980s synthpop was its "emotional, at times operatic singers" such as Andy Bell, Morten Harket, Marc Almond, Alison Moyet and Annie Lennox.[2]

History

Precursors

Experiments in tape manipulation or musique concrète, early computer music and early sampling and sound manipulation technologies paved the way for both manipulating and creating new sounds through technology. 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.[3] The Mellotron, an electro-mechanical, polyphonic sample-playback keyboard, which used a bank of parallel linear magnetic audio tape strips to produce a variety of sounds enjoyed popularity from the mid-1960s.[4] The initial popularity of the Mellotron would be overtaken by the Moog synthesizer, created by Robert Moog in 1964, which produced completely electronically generated sounds which could be manipulated by pitch and frequency, allowing the "bending" of notes and considerable variety and musical virtuosity to be expressed. The early commercial Moog synthesiser was large and difficult to manipulate, but in 1970 Moog responded to its use in rock and pop music by releasing the portability Mini-moog, which allowed much easier use, particularly in live performance.[5] Early synthesisers were monophonic (only able to play one note at a time), but polyphonic versions began to be produced from the mid-1970s, among the first being the Prophet-5.[6]

Progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes were soon using the new portable synthesizers extensively. Other early users included Emerson, Lake & Palmer's Keith Emerson, Pete Townshend and The Crazy World of Arthur Brown's Vincent Crane. Instrumental prog rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can and Faust to circumvent the language barrier.[7] Their synthesiser-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent synth rock.[8] In 1971 the dark British movie A Clockwork Orange was released with a dark synth soundtrack by American Wendy Carlos. It was the first time many in the United Kingdom had heard electronic music. Philip Oakley of the Human League and Richard H. Kirk of Cabaret Voltaire as well as music journalist Simon Reynolds has cited the soundtrack as an inspiration.[9] and 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.[10] The mid-1970s, saw the rise of electronic art music musicians such as Jean Michel Jarre, Vangelis, and Tomita. Tomita's 1972 album Electric Samurai: Switched on Rock featured electronic renditions of contemporary rock and pop songs, while utilizing speech synthesis and analog music sequencers.[11] In 1975 Kraftwork played it's first British show and inspired concert attendees Orchestral Manoeuvres in the Dark too throw away their guitars and become a synth act. Kraftwork had its first hit UK record later in the year. The group was described by the BBC Four program Synth Britannia as the key to synthpop's future rise there.[9]

Origins (1977–81)

Yellow Magic Orchestra in 2008

The Do It yourself attitude of the 1977 punk rock explosion broke down the progressive rock era's norm of needing years of experience before getting up on stage to play synthesizers.[9] Germany's 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.[12] David Bowie's "Berlin period" albums, Low (1977), Heroes (1977), and Lodger (1979), all produced by Brian Eno in Germany, would also be highly influential.[13] In 1977 Ultravox member Warren Cann purchased a Roland TR-77 drum machine, which was first featured in their October 1977 single release "Hiroshima Mon Amour".[14]

Yellow Magic Orchestra (YMO) helped pioneer synthpop with their self-titled album (1978) and Solid State Survivor (1979),[15] introducing a more "joyous and liberating" approach,[16] setting a template with less minimalism and more varying use of synthesizer lines,[17] and drawing from a wider range of influences.[18] They would also be the first to use the Roland TR-808 programmable drum machine in a commercial record in 1980,[19] and influenced various synthpop acts such as Ultravox, John Foxx, Gary Numan, Duran Duran, Todd Rundgren and Eric Clapton.[16] 1978 also saw UK band The Human League's début single "Being Boiled" 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".[20] Prior to Numan the synth acts reflected the bleak and empty landscape of Britain of the late 1970s. In opposition to the anti hero punk attitude Numan desired to be a pop star.[9] Giorgio Moroder collaborated with the band Sparks on their album, No. 1 In Heaven (1979). 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" (1979).

Albums such as Devo's Freedom of Choice (1980), Visage's self titled debut (1980), John Foxx's Metamatic (1980), Gary Numan's Telekon (1980), Ultravox's Vienna (1980), The Human League's Dare (1981) and Depeche Mode's Speak and Spell (1981), established a sound that influenced most mainstream pop and rock bands.[21] Synthpop's early steps, and the Numan Futurist movement in particular, were strongly disparaged in the British music press of the late 1970s and early 1980s as the "Adolf Hitler Memorial Space Patrol" (Mick Farren).[22]

Commercial success and development (1982–90)

Depeche Mode live

The emergence of synthpop has been described as "perhaps the single most significant event in melodic music since Mersey-beat."[15] Particularly through their adoption by the New Romantic movement, synthesizers came to dominate the pop music of the early 1980s[23] as well as replacing disco in dance clubs across Japan[24] and Europe.

The early sound of synthpop was "eerie, sterile, and vaguely menacing", however, the definition of MIDI in 1982 and the development of digital audio made the creation and range of purely electronic sounds much easier.[25] More commercially orientated bands like Duran Duran adopted dance beats to produce a catchier and warmer sound.[21][26] They were soon followed into the charts by large number of bands who used synthesizers to create three-minute pop singles. These included members of the New Romantic movement in the UK, who adopted an elaborate visual style that combined elements of glam rock, science fiction and romanticism such as Spandau Ballet, A Flock of Seagulls, Culture Club, Talk Talk and the Eurythmics, sometimes using synthesizers to replace all other instruments.[27] Other successful synthpop artists of this era included Alphaville, Soft Cell, New Order, Blancmange,[28] Frankie Goes to Hollywood,[23] Pet Shop Boys,[23] Thomas Dolby, Yazoo, Art of Noise, Heaven 17, OMD, Tears for Fears, Thompson Twins, a-ha, Modern Talking, Real Life, Camouflage, Cabaret Voltaire, The Beloved, ABC and Level 42.

Throughout the United States, where synthpop is considered a sub genre of New Wave,[26] the genre became popular in large part due to the cable music channel MTV, which reached the media capitals of New York City and Los Angeles in 1982.[29][26] 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.[30] 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.[31][32]

The genre was heavily criticized by the rock music press in the United Kingdom for its lack of British influence in general and German influence in particular.[9]

Declining popularity and 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.[31][33] Exceptions during the decade were Savage Garden, The Rentals, and The Moog Cookbook.[31] By the end of the 1990s many of the 1980s acts had been dropped by their labels and added other elements to their sound.[31]

Synthpop proved influential on underground African American music, particularly in New York and Detroit.[citation needed] During the early 1980s, the electro style was largely developed by Afrika Bambaata, who was heavily influenced by Yellow Magic Orchestra and Kraftwerk.[34] Musicians such as A Number of Names and Cybotron developed a style of electronic dance music influenced by synthpop and funk that lead to the emergence of Detroit techno in the mid 1980s.[citation needed] Synth pop was a major influence on house music, which grew out of the post-disco dance club culture of the early 1980s as some DJs attempted to make the music less pop-oriented incorporating influences from Latin soul, dub reggae, rap music, and jazz.[35] During the 1990s the influence of 1980s New Wave Synthpop could be seen in various incarnations of Eurodisco and trance.[36][37] The band Freezepop gained popularity in the video game market.[38]

21st century revival

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

In recent years, the electropop sound and style have also arguably influenced many other mainstream pop artists. Madonna's Confessions on a Dance Floor had many electropop elements. Australian singer Kylie Minogue utilized a strong electropop sound for her eighth studio album Fever in late 2001, including the worldwide smash hit "Can't Get You Out of My Head".[39] More recently, many other pop artists began incorporating the genre into their music. The second album by British singer Lily Allen released in 2009 called It's Not Me, It's You is largely synthpop as opposed to her first ska album.[40][41]

Acts described as synthpop in recent years include Hot Chip, Junior Boys, LCD Soundsystem, Cut Copy, Hurts,[42] Mike Posner,[43] Lights,[44] Chromeo,[45] Metric, Little Boots,[46] Owl City (who achieved a number 1 US single),[47] Ladytron, Phoenix,[48] Passion Pit,[49] The Presets,[50] Ladyhawke,[51] Crystal Castles,[52] La Roux,[53] Robyn,[54][55] Röyksopp,[56] Tesla Boy,[57] and Shy Child.[58]

The British and other media in 2009 ran articles proclaiming a new era of the female electropop star and indeed 2009 saw a rise in popularity of electropop artists. In the Sound of 2009 poll of 130 music experts conducted for the BBC, ten of the top fifteen artists named were of the electropop genre.[59] Lady Gaga had major commercial success since 2008 with her debut album The Fame.[60][61][62][63][64] Music writer Simon Reynolds noted that "Everything about Gaga came from electroclash, except the music, which wasn't particularly 1980s".[65] Other female electropop acts that emerged were Ladyhawke,[66] Ke$ha,[67] Elly Jackson of La Roux,[66] and Perfume.[68] A video by Little Boots, who topped the BBC poll for 2009, showed her using a Tenori-on.[citation needed]

Male acts that have emerged included British writer and producer Taio Cruz who charted well in the U.S.,[69] One man act Owl City who had a number 1 US single,[70][71] and another one man act Kaskade,[72] and LMFAO.[73] Singer Michael Angelakos of the Passion Pit said in a 2009 interview that while playing electro pop was not his intention, the limitations of dorm life made the genre more accessible.[74] Some artists have used music technology to convert songs from other genres into synthpop; for example, Paul Duncan of Warm Ghost took a record by indie folk artists Mountain Man and turned it into an synthpop song.[75][unreliable source?]

In 2009, James Oldham—head of artists and repertoire at A&M Records—was quoted as saying "All A&R departments have been saying to managers and lawyers: 'Don't give us any more bands because we're not going to sign them and they're not going to sell records.' So everything we've been put on to is electronic in nature."[66][76]

Artists

Main article: List of synthpop artists

See also

Bibliography

  • Depeche Mode & The Story of Electro-Pop, Q/Mojo magazine collaboration, 2005.
  • Electronic Music: The Instruments, the Music & The Musicians by Andy Mackay, of Roxy Music

References

  1. ^ T. Cateforis, Are We Not New Wave?: Modern Pop at the Turn of the 1980s (Ann Arbor, MI: University of Michigan Press, 2011), ISBN 0472034707, p. 52.
  2. ^ The 1980s revival that lasted an entire decade by Simon Reynolds for The Guardian 22 January 2010
  3. ^ J. Stuessy and S. D. Lipscomb, Rock and Roll: its History and Stylistic Development (London: Pearson Prentice Hall, 6th edn., 2008), ISBN 0136010687, p. 21.
  4. ^ R. Brice, Music Engineering (Oxford: Newnes, 2nd edn., 2001), ISBN 0750650400, pp. 108-9.
  5. ^ T. Pinch and F. Trocco, Analog Days: The Invention and Impact of the Moog Synthesizer (Cambridge, MA: Harvard University Press, 2004), ISBN 0674016173, pp. 214-36.
  6. ^ Barry R. Parker, Good Vibrations: the Physics of Music (Boston MD: JHU Press, 2009), ISBN 0801892643, p. 213.
  7. ^ P. Bussy, Kraftwerk: Man, Machine and Music (London: SAF, 3rd end., 2004), ISBN 0-946719-70-5, pp. 15–17.
  8. ^ R. Unterberger, "Progressive Rock", in V. Bogdanov, C. Woodstra and S. T. Erlewine, eds, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 1330-1.
  9. ^ a b c d e "Synth Britannia" BBC Four 2008
  10. ^ Hot Butter bio by Allmusic
  11. ^ Mark Jenkins (2007), Analog synthesizers: from the legacy of Moog to software synthesis, Elsevier, pp. 133–4, ISBN 0240520726, retrieved 2011-05-27
  12. ^ D. Nobakht, Suicide: No Compromise (SAF Publishing Ltd, 2004), p. 136.
  13. ^ Greg Villepique, Salon, January 25, 2000. [1] Access date: August 11, 2008.
  14. ^ "The Man Who Dies Every Day Ultravox", All Music Guides, https://www.allmusic.com/song/t258253 retrieved 25/07/09.
  15. ^ a b Piero Scaruffi (2003), "The new wave of pop and synth-pop", A history of rock music 1951-2000, iUniverse, p. 234, ISBN 0595295657, retrieved 2011-05-26
  16. ^ a b 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.
  17. ^ 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.
  18. ^ Dan Sicko & Bill Brewster (2010), Techno Rebels (2nd ed.), Wayne State University Press, pp. 27–8, ISBN 0814334385, retrieved 2011-05-28
  19. ^ Jason Anderson (November 28, 2008). "Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine". CBC News. Retrieved 2011-05-29.
  20. ^ J. Miller, Stripped: Depeche Mode (Omnibus Press, 2004), p. 21.
  21. ^ a b "Synth pop", Allmusic, archived from the original on 10 March 2011.
  22. ^ The Seth Man, Julian Cope Presents Head Heritage, June 1, 2004. [2] Access date: August 14, 2004
  23. ^ a b c Dawn of the plastic age Malaysia Star March 2, 2007
  24. ^ "Computer rock music gaining fans". Sarasota Journal: 8. August 18, 1980. Retrieved 2011-05-25.
  25. ^ M. Russ, Sound Synthesis and Sampling (Elsevier, 3nd edn., 2004), ISBN 0240521056, p. 66.
  26. ^ 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.
  27. ^ P. Scaruffi, A History of Rock Music: 1951–2000 (iUniverse, 2003), ISBN 0-595-29565-7, pp. 234–5.
  28. ^ https://www.allmusic.com/artist/p15879
  29. ^ Simon Reynolds, Rip It Up and Start Again Postpunk 1978–1984, pp. 340 and 342–3.
  30. ^ Why John Hughes Still Matters
  31. ^ a b c d Synthpop Flocks Like Seagulls Long Island Voice October 12, 1999
  32. ^ Allmusic Red Flag bio[dead link]
  33. ^ 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 new-found craving for grunge"
  34. ^ David Toop (1996), "A-Z Of Electro", The Wire, no. 145, retrieved 2011-05-29 {{citation}}: Unknown parameter |month= ignored (help)
  35. ^ "House", Allmusic, archived from the original on 10 March 2011.
  36. ^ The decade that never dies Still ’80s Fetishizing in ’09 Yale Daily News October 23, 2009
  37. ^ St. James encyclopedia of Pop Culture
  38. ^ Freezepop Allmusic bio
  39. ^ [3]
  40. ^ In the Studio: Lily Allen Makes “Naughty” Follow-Up Rolling Stone July 1, 2008
  41. ^ Lily Allen It's Not Me It's You Review Sydney Morning Herald February 14, 2009
  42. ^ Are these the best albums of 2010? Sydney Star Observer December 23, 2010
  43. ^ 4 Warped acts of note Minneapolis Star Tribune July 29, 2010
  44. ^ Allmusic Lights bio
  45. ^ Quickie Q&A: Chromeo | Metromix Denver
  46. ^ 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.
  47. ^ Owl City Chart History Billboard
  48. ^ "Phoenix and the hit Liszt". StarTribune.com. 2009-06-21. Retrieved 2010-09-10.
  49. ^ Turenne, Martin (2009-10-08). "Passion Pit's synth-pop rebels put guitars aside | Vancouver, Canada". Straight.com. Retrieved 2010-09-10.
  50. ^ "The Presets Interview - Interview with the Presets". Dancemusic.about.com. 2010-06-11. Retrieved 2010-09-10.
  51. ^ Lilia, Nisha (2009-02-27). "Ladyhawke: flying high". Telegraph. Retrieved 2010-09-10.
  52. ^ Phares, Heather. Crystal Castles (II) review at AllMusic. Retrieved 2011-01-05.
  53. ^ Phares, Heather. La Roux at AllMusic. Retrieved 2011-01-05.
  54. ^ and Robyn Reinvents Herself — With A Little Help From A Snoop Dogg Remix 2008 April 14 MTV
  55. ^ Robyn: Robyn review Virgin Media
  56. ^ "Album Reviews: Röyksopp: Junior". Pitchfork. 2009-03-25. Retrieved 2010-09-10.
  57. ^ Telsa Boy Review Kviv Post April 16, 2009
  58. ^ CMJ MUSIC MARATHON, In a kingdom so diverse, no single band grabs the crown Newsday September 19, 2005
  59. ^ UK gaga for electro-pop, guitar bands fight back The Kuwait Times January 28, 2009
  60. ^ Number one single for Lady GaGa BBC 11 January, 2009
  61. ^ Lady GaGa holds onto chart crown BBC 29 March, 2009
  62. ^ Lady GaGa, Calvin Harris Top U.K. Charts Billboard 13 April, 2009
  63. ^ 25 faces to watch in 2009 The Times 8 January, 2009
  64. ^ Lady GaGa: pop meets art to just dance The Telegraph 21 January, 2009
  65. ^ The 1980s revival that lasted an entire decade by Simon Reynolds for The Guardian 22 January 2010
  66. ^ a b c Gaga for girl power Sydney Morning Herald 28 February, 2009
  67. ^ Ke$ha demands a pinch of respect and mirth The Times March 7, 2010
  68. ^ Template:Ja icon "Perfumeが1位獲得！YMO以来約25年ぶりの快挙". Oricon. 2008-04-22. Retrieved 2009-10-17.
  69. ^ Taio Cruzes Up The U.S Chart! MTV UK 3 March 2010
  70. ^ Maybe I'm Dreaming: Owl City [4] Access date: July 9, 2009.
  71. ^ Pop's space cadets set to blast off BBC 1 January 2010
  72. ^ Electric Daisy Carnival at the Los Angeles Memorial Coliseum Santa Barbera Independent June 29, 2010
  73. ^ Party" just beginning for electro-pop duo LMFAO Billboard reprinted by Reuters January 4, 2010
  74. ^ Interview: Michael Angelakos of Passion Pit Boston Phoenix October 1, 2009
  75. ^ Erick Sermon (March 2011). "Warm Ghost – Uncut Diamond EP -- Partisan Records: 2011". Music Nerdery. Retrieved 2011-05-08. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  76. ^ La Roux, Lady Gaga, Mika, Little Boots: the 80s are back The Telegraph 5 August, 2009
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