Jump to content

Synth-pop

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by 189.160.148.42 (talk) at 14:00, 19 October 2011. The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Template:Redirect4

Synthpop
Stylistic originsDisco, New Wave, electronic, pop, post-punk, glam rock, krautrock
Cultural origins1977–80 in Germany and England
Typical instrumentsSynthesizer – drum machine – bass guitar – tape loops – drums – guitar – sequencer – keyboard – vocoder – sampler – vocals
Derivative formsHouse music, trance music, digital hardcore, electroclash, indie electronic

(complete list)
Fusion genres
Synthpunk, techno

Synthpop (also known as electropop, or technopop[1]) is a genre of popular music in which the synthesizer is the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic art rock, disco and particularly the "Kraut rock" 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 to the mid-1980s.

Early synthpop pioneers included British bands Ultravox and the Human League; the latter largely used monophonic synthesizers to produce music with a simple and austere sound. After the breakthrough of Tubeway Army and Gary Numan in the British Singles Chart, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s, including Soft Cell, Orchestral Manoeuvres in the Dark, Japan and Depeche Mode in the United Kingdom, while in Japan, Yellow Magic Orchestra's success opened the way for synthpop bands such as P-Model, Plastics, and Hikashu. The development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats led to a more commercial and accessible sound for synthpop. This, its adoption by the style-conscious acts from the New Romantic movement and the rise of MTV, led to success for large numbers of British synthpop acts, including Duran Duran and Spandau Ballet, in the United States.

In the late 1980s, duos such as Erasure and Pet Shop Boys adopted a sound that was highly successful on the US dance charts, but by the end of the decade synthpop had largely been abandoned. Interest began to be revived in the indie electronic and electroclash movements in the late 1990s and, in the first decade of the 21st century, it enjoyed a widespread revival with commercial success for acts including La Roux and Owl City.

Characteristics

Although synthpop in part arose from punk rock, it abandoned punk's emphasis on authenticity and often pursued a deliberate artificiality,[2] sometimes using synthesizers to replace all other instruments.[3] It owed relatively little to the foundations of early popular music in jazz, folk music or the blues,[2] and instead of looking to America, in its early stages, it consciously focused on European and particularly Eastern European influences.[4] Early synthpop has been described as "eerie, sterile, and vaguely menacing", using droning electronics with little change in inflection. Later the introduction of dance beats made the music warmer and catchier and contained within the conventions of three-minute pop.[5] 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.[6] 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.[7]

History

Precursors

Main articles: Electronic music and Electronic rock
A colour photograph of a synthesizer with a keyboard and dials in a wooden cabinet
An early Minimoog synthesizer

In the first half of the 20th century, experiments in tape manipulation or musique concrète, early computer music, sampling and sound manipulation technologies paved the way for the creation of 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.[8] 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.[9] It was overtaken by the Moog synthesizer, created by Robert Moog in 1964, which produced completely electronically generated sounds that 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 synthesizer was large and difficult to operate, but in 1970 Moog responded to its use in rock and pop music by releasing the portable Mini-moog, which allowed much easier use, particularly in live performance.[10] Early synthesizers 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.[11]

A black and white photograph of four members of Kraftwerk onstage, each with a synthesizer
Kraftwerk, one of the major influences on synthpop, in 1976

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 of The Who 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.[12] Their synthesizer-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.[13] In 1971 the dark British movie A Clockwork Orange was released with a 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.[14] Electronic music made occasional moves into the mainstream, with jazz musician Stan Free, under the pseudonym Hot Butter, having a top 10 hit in the United States and United Kingdom in 1972, with a cover of the 1969 Gershon Kingsley song "Popcorn" using a Moog synthesizer.[15]

A colour photograph of three members of Yellow Magic Orchestra at the front of a stage
Yellow Magic Orchestra in 2008

The mid-1970s saw the rise of electronic art musicians such as Jean Michel Jarre, Vangelis, and Tomita. In 1972, Tomita's album Electric Samurai: Switched on Rock featured electronic renditions of contemporary rock and pop songs, while utilizing speech synthesis and analog music sequencers.[16] In 1974, Osamu Kitajima's progressive rock album Benzaiten, featuring Haruomi Hosono (who later founded Yellow Magic Orchestra), utilized a synthesizer, rhythm machine, and electronic drums.[17] In 1975, Kraftwerk played its first British show and inspired concert attendees Orchestral Manoeuvres in the Dark to throw away their guitars and become a synth act.[citation needed] Kraftwerk 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.[14] Italy's Giorgio Moroder paired up with Donna Summer in 1977 to release the electronic disco song "I Feel Love", and although it's a disco song first and foremost, the programmed, arpeggiated beats had a profound impact on the bands which would soon be known as synthpop.[2] David Bowie's "Berlin period" albums, Low (1977), Heroes (1977), and Lodger (1979), all featuring Brian Eno in Germany, would also be highly influential.[18]

Origins (1977–80)

See also: New Wave Music
A colour photograph of Gary Numan performing onstage with a guitar and microphone
Gary Numan performing in 1980

Early guitar-based punk rock that came to prominence in the period 1976-77 was initially hostile to the "inauthentic" sound of the synthesizer,[2] but many New Wave and post-punk bands that emerged from the movement began to adopt it as a major part of their sound.[19] The Do It yourself attitude of punk broke down the progressive rock era's norm of needing years of experience before getting up on stage to play synthesizers.[14] The American duo Suicide, who arose from the post-punk scene in New York, utilized drum machines and synthesizers in a hybrid between electronics and post punk on their eponymous 1977 album.[20] Also 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".[21]

Japanese band Yellow Magic Orchestra (YMO) helped pioneer synthpop,[3] with their self-titled album (1978)[22] and Solid State Survivor (1979),[3] setting a template with less minimalism, more varying use of synthesizer lines, a "fun-loving and breezy" sound,[23] strong emphasis on melody,[22] and drawing from a wider range of influences than had been employed by Kraftwerk.[24] YMO also introduced the microprocessor-based Roland MC-8 sequencer[25] and TR-808 rhythm machine to popular music,[26] and the band would be a major influence on early British synthpop acts.[27] 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. At this point synthpop gained some critical attention but made little impact on the commercial charts.[28]

Tubeway Army intended its debut album to be guitar driven. In 1978, Gary Numan a member of the group found a minimoog left by behind another band and started experimenting with it. [29] This led to a change of album's sound to electronic New Wave[29]. Numan describes his work on this album as a guitarist playing keyboards who turned "punk songs into electronic songs".[29] A single from the album "Are Friends Electric?" topped the UK charts in the summer of 1979 with the single "Are Friends Electric?".[28] Finding out that synthesizers could be used different manner than the supergroups of the day used them or the way Giorgio Moroder used them prompted Numan to go solo.[28] Numan released the futuristic album The Pleasure Principle. He played only synths but retained a bass guitarist and and drummer for the rhythm section.[28] A single from the album "Cars" topped the charts.[30] Prior to Numan the synth acts reflected the bleak and empty landscape of Britain of the late 1970s.[14] In opposition to the antihero punk attitude, Numan desired to be a pop star.[14]

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).[3] That same year in Japan, the synthpop band P-Model made its debut with the album In a Model Room. Other Japanese synthpop groups emerging at around the same time included the Plastics and Hikashu.[31]

Numan was the trigger for the chart success in 1980 for Visage's self titled debut,[32] John Foxx's Metamatic,[33] and Ultravox's Vienna.[34] and Spandau Ballet[29]. 1980 saw the release of what for many is the defining album of Devo's career, Freedom of Choice.[35]

Synthpop's early steps, and the Numan Futurist movement in particular, were disparaged in the British music press of the late 1970s and early 1980s for their German influences[14] and characterised by journalist Mick Farren as the "Adolf Hitler Memorial Space Patrol".[36]

Commercial success (1981–85)

See also: New Romanticism and Second British Invasion
A colour photograph of members of Depeche Mode with instruments and microphones performing on a stage
Depeche Mode performing at the O2 Wireless Festival in 2006

The emergence of synthpop has been described as "perhaps the single most significant event in melodic music since Mersey-beat".[3] By the 1980s synthesizers had become much cheaper and easier to use.[37] After the definition of MIDI in 1982 and the development of digital audio, the creation of purely electronic sounds and their manipulation became much easier.[38] Synthesizers came to dominate the pop music of the early 1980s, particularly through their adoption by bands of the New Romantic movement.[39]

The New Romantic scene had developed in the London nightclubs Billy's and The Blitz and was associated with bands including Duran Duran, Japan, Ultravox, Visage, Adam and the Ants, Bow Wow Wow, Soft Cell, Spandau Ballet, ABC and Culture Club.[40] They adopted an elaborate visual style that combined elements of glam rock, science fiction and romanticism.[3] Duran Duran have been credited with adopting dance beats to produce a catchier and warmer sound, which provided them with a series of hit singles.[5] They would soon be followed into the British charts by a series of bands utilising synthesizers to create catchy three-minute pop songs.[41] A new line-up for the Human League and a more commercial sound led to the album Dare (1981), which produced a series of hit singles, including "Don't You Want Me", which reached number one in the UK at the end of 1981.[42]

Synthpop reached its commercial peak in the UK in the winter of 1981–2, with bands including Soft Cell, Orchestral Manoeuvres in the Dark, Japan, Ultravox, Depeche Mode and even Kraftwerk enjoying top ten hits. In early 1982 synthesizers were so dominant that the Musicians Union attempted to limit their use.[43] By the end of 1982, they had been joined in the charts by synth-based acts including Thomas Dolby, Blancmange, The Eurythmics and Tears for Fears. 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.[44]

A colour photograph of the two members of the Pet Shop Boys on a stage with a synthesizer and a microphone respectively
The Pet Shop Boys performing in 2006

In the US, where synthpop is considered a sub genre of New Wave and was described as "technopop" by the press at the time,[1] the genre became popular due to the cable music channel MTV, which reached the media capitals of New York City and Los Angeles in 1982.[28][41] Style conscious New Romantic synthpop acts became a major staple of MTV programming. "I Ran (So Far Away)" (1982) by A Flock of Seagulls is generally considered the first hit by a British act to enter the Billboard Top Ten as a result of the power of video.[citation needed] They would be followed by a large number of acts, many of them employing synthpop sounds, over the next three years, with Duran Duran's glossy videos symbolising the power of MTV and this Second British Invasion.[citation needed] The switch to a "new music" format in US radio stations was also significant in the success of British bands.[28] Synthpop was taken up across the world, with international hits for acts including Men Without Hats and Trans X from Canada, Telex from Belgium and Yello from Switzerland.[45]

In the mid-1980s, key artists included solo performer Howard Jones, who mixed synthpop with the optimism of late-'60s pop,[46] and Nik Kershaw, whose "well-craft synthpop"[47] incorporated guitars and other more traditional pop influences that particularly appealed to a teen audience.[48] Pursuing a more dance-orientated sound were Bronski Beat whose album The Age of Consent (1984), dealing with issues of homophobia and alienation, reached the top 20 in the UK and top 40 in the US.[49] and Thompson Twins, whose popularity peaked in 1985 with the album Here's to Future Days, which reached the US top ten and spawned two top ten singles,[50] Initially dismissed in the music press as a "teeny bob sensation" were Norwegian band a-ha, whose use of guitars and real drums produced an accessible form of synthpop, which, along with a MTV friendly video, took single "Take on Me" (1985) to number two in the UK and number one in the US.[51]

In the 1980s, synthpop helped establish the synthesizer as a primary instrument in mainstream pop music.[5] It 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 less pop-oriented music that also incorporated influences from Latin soul, dub reggae, rap music, and jazz.[52] Musicians such as Juan Atkins, using names including Model 500, Infinity and as part of 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.[53]

Declining popularity and development (1986–2000)

A colour photograph of members of the group Ladytron on stage with instruments including synthesizers, performing to members of an audience silhouetted in the foreground
Ladytron (shown onstage in 2008) was originally categorised as electroclash

An American backlash against European synthpop has been seen as beginning in the mid-1980s with the rise of heartland rock and roots rock.[54] In the UK the arrival of indie rock bands, particularly The Smiths, has been seen as marking the end of synth-driven New Wave and the beginning of the guitar-based music that would dominate rock into the 1990s.[55][56] In the late 1980s acts that also moved synthpop into a form of dance music included most successfully British duos Pet Shop Boys,[57] Erasure[58] and The Communards whose major hits were covers of disco classics "Don't Leave Me This Way" (1986) and "Never Can Say Goodbye" (1987).[59][60] By the end of the 1980s many acts had been dropped by their labels. After adding other elements to their sound, and with the help of a gay audience, several synthpop acts had success on the US dance charts. Among these were American acts Information Society, Anything Box, and Red Flag.[61][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.[63] Exceptions that continued to pursue forms of synthpop or rock in the 1990s were Savage Garden, The Rentals, and The Moog Cookbook.[61] The continued influence of 1980s synthpop could be seen in various incarnations of 1990s dance music including trance.[64]

Electronic music was explored from the early 1990s by indie electronic bands like Stereolab and Disco Inferno, who mixed a variety of indie and synthesizer sounds, but took off in the new millennium as the new digital technology developed, with acts including Broadcast from the UK, Justice from France, Lali Puna from Germany and Ratatat and The Postal Service from the US, mixing a variety of indie sounds with electronic music, largely produced on small independent labels.[65][66] Similarly the electroclash sub-genre began in New York at the end of the 1990s, combining synth pop, techno, punk and performance art. It was pioneered by I-F with their track "Space Invaders Are Smoking Grass" (1998),[67] and pursued by artists including Felix da Housecat,[68] Peaches, Chicks on Speed,[69] and Ladytron.[70] It gained international attention at the beginning of the new millennium and spread to scenes in London and Berlin, but rapidly faded as a recognizable genre as acts began to experiment with a variety of forms of music.[71]

21st century revival

A colour photograph of Elly Jackson with microphone
Elly Jackson of La Roux performing in 2010

In the new millennium, renewed interest in electronic music and nostalgia for the 1980s led to the beginnings of a synthpop revival, with acts including Adult and Fischerspooner. In 2003–04 it began to move into the mainstream with Ladytron, the Postal Service, Cut Copy, the Bravery and The Killers all producing records that incorporated vintage synthesizer sounds and styles which contrasted with the dominant sounds of post-grunge and nu-metal. In particular the Killers enjoyed considerable airplay and exposure and their debut album Hot Fuss (2004) reached the top ten of the Billboard 200.[72] The Killers, the Bravery and the Stills all left their synthpop sound behind after their debut albums and began to explore classic 1970s rock,[72] but the style was picked up by a large number of performers, particularly female solo artists, which after the breakthrough success of Lady Gaga with her single "Just Dance" (2008), led the British and other media to proclaim a new era of the female electropop star, which also included Little Boots, La Roux and Ladyhawke.[73][74]

The success of Japanese technopop girl group Perfume's album Game (2008) has led to a similar renewed interest in Japanese popular music.[75][76] Other Japanese female technopop artists soon followed, including Aira Mitsuki, immi, Mizca, SAWA, Saori@destiny, and Sweet Vacation.[76] The electronic sound and style influenced other mainstream pop artists, including Lily Allen's second album It's Not Me, It's You (2009).[77] Male acts that emerged in the same period included Calvin Harris,[78] Frankmusik,[79] Hurts,[80] Kaskade,[81] LMFAO,[82] and Owl City, whose single "Fireflies" (2009) topped the Billboard Hot 100 chart.[83][84] The electropop style has also been incorporated into mainstream British R&B, exemplified by Jay Sean's "Down" (2009) and Taio Cruz's "Break Your Heart" (2009) which became chart-topping hits in the United States.[85] Other acts used samples of 1980s synthpop tracks in the production of new records, including Mobb Deep and Rihanna.[72]

Artists

Main article: List of synthpop artists

See also

References

  1. ^ a b T. Cateforis (2011), Are We Not New Wave?: Modern Pop at the Turn of the 1980s, Ann Arbor MI: University of Michigan Press, p. 51, ISBN 0472034707.
  2. ^ a b c d S. Borthwick and R. Moy (2004), Popular Music Genres: an Introduction, Edinburgh: Edinburgh University Press, pp. 121–3, ISBN 0748617450.
  3. ^ a b c d e f P. Scaruffi (2003), A History of Rock Music: 1951–2000, iUniverse, pp. 234–5, ISBN 0-595-29565-7.
  4. ^ S. Reynolds (2005), Rip It Up and Start Again Postpunk 1978–1984, London: Faber and Faber, p. 327, ISBN 0-571-21570-X.
  5. ^ a b c "Synth pop", Allmusic, archived from the original on 10 March 2011.
  6. ^ S. Reynolds (22 January 2010), "The 1980s revival that lasted an entire decade", Guardian.co.uk, archived from the original on 2 August 2011.
  7. ^ S. Reynolds (10 October 2009), "One nation under a Moog", Guardian.co.uk, archived from the original on 3 August 2011.
  8. ^ J. Stuessy and S. D. Lipscomb (2008), Rock and Roll: its History and Stylistic Development (6 ed.), London: Pearson Prentice Hall, p. 21, ISBN 0136010687.
  9. ^ R. Brice (2001), Music Engineering (2 ed.), Oxford: Newnes, pp. 108–9, ISBN 0750650400.
  10. ^ T. Pinch and F. Trocco (2004), Analog Days: The Invention and Impact of the Moog Synthesizer, Cambridge, MA: Harvard University Press, pp. 214–36, ISBN 0674016173.
  11. ^ B. R. Parker (2009), Good Vibrations: the Physics of Music, Boston MD: JHU Press, p. 213, ISBN 0801892643.
  12. ^ P. Bussy (2004), Kraftwerk: Man, Machine and Music (3 ed.), London: SAF, pp. 15–17, ISBN 0-946719-70-5.
  13. ^ R. Unterberger (2004), "Progressive rock", in V. Bogdanov, C. Woodstra and S. T. Erlewine, eds (ed.), All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul, Milwaukee, WI: Backbeat Books, pp. 1330–1, ISBN 0-87930-653-X {{citation}}: |editor= has generic name (help)CS1 maint: multiple names: editors list (link).
  14. ^ a b c d e f Synth Britannia, BBC Four, 2 Aug 2010, 00:30 {{citation}}: Check date values in: |date= (help).
  15. ^ B. Eder, "Hot Butter: Biography", Allmusic, archived from the original on 4 August 2011.
  16. ^ M. Jenkins (2007), Analog Synthesizers: Understanding, Performing, Buying: from the Legacy of Moog to Software Synthesis, Amsterdam: Elsevier, pp. 133–4, ISBN 0-240-52072-6.
  17. ^ "Osamu Kitajima – Benzaiten", Discogs, archived from the original on 4 August 2011.
  18. ^ T. J. Seabrook (2008), Bowie in Berlin: A New Career in a New Town, Jawbone Press, ISBN 1-906-00208-8.
  19. ^ D. Nicholls (1998), The Cambridge History of American Music, Cambridge: Cambridge University Press, p. 373, ISBN 0-521-45429-8.
  20. ^ D. Nobakht (2004), Suicide: No Compromise, London: SAF Publishing, p. 136, ISBN 0-946-71971-3.
  21. ^ T. Maginnis, The Man Who Dies Every Day: Ultravox, Allmusic, archived from the original on 5 August 2011.
  22. ^ a b A. Stout (24 June 2011), "Yellow Magic Orchestra on Kraftwerk and How to Write a Melody During a Cultural Revolution", SF Weekly, archived from the original on 5 August 2011.
  23. ^ S. T. Erlewine (2001), "Yellow Magic Orchestra", in V. Bogdanov, ed. (ed.), All Music Guide to Electronica: the Definitive Guide to Electronic Music (4 ed.), Milwaukee, WI: Backbeat Books, p. 516, ISBN 0-879-30628-9 {{citation}}: |editor= has generic name (help).
  24. ^ D. Sicko and W. Brewster (2010), Techno Rebels (2 ed.), Detroit, MI: Wayne State University Press, pp. 27–8, ISBN 0-814-33438-5.
  25. ^ "Yellow Magic Orchestra – Yellow Magic Orchestra", Discogs, archived from the original on 5 August 2011.
  26. ^ J. Anderson (28 November 2008), "Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine", CBC News, archived from the original on 5 August 2011.
  27. ^ J. Lewis (4 July 2008), "Back to the future: Yellow Magic Orchestra helped usher in electronica – and they may just have invented hip-hop, too", Guardian.co.uk, archived from the original on 5 August {{citation}}: Check date values in: |archivedate= (help).
  28. ^ a b c d e f S. Reynolds (2005), Rip It Up and Start Again Postpunk 1978–1984, London: Faber and Faber, pp. 340 and 342–3, ISBN 0-571-21570-X. Cite error: The named reference "Reynolds2005pp340&342-3" was defined multiple times with different content (see the help page).
  29. ^ a b c d S. Reynolds (2005), Rip It Up and Start Again Postpunk 1978–1984 US Edition, London: Faber and Faber, pp. 298 US Edition, ISBN 0-571-21570-X
  30. ^ J. Miller, Stripped: Depeche Mode (3 ed.), London: Omnibus Press, p. 21, ISBN 1-847-72444-2.
  31. ^ I. Martin, "P-Model", Allmusic, archived from the original on 21 August 2011.
  32. ^ D. LeRoy, "Visage: Visage", Allmusic, archived from the original on 5 August 2011.
  33. ^ J. Bush, "Metamatic: John Foxx", Allmusic, archived from the original on 5 August 2011.
  34. ^ D. Jeffries, "Vienna: Ultravox", Allmusic, archived from the original on 5 August 2011.
  35. ^ S. Huey, "Freedom of Choice: Devo", Allmusic, archived from the original on 5 August 2011
  36. ^ The Seth Man (June 2004), "Bill Nelson's Red Noise — Sound-On-Sound", Julian Cope Presents Head Heritage, archived from the original on 5 August 2011.
  37. ^ S. Reynolds (2005), Rip It Up and Start Again Postpunk 1978–1984, London: Faber and Faber, p. 328, ISBN 0-571-21570-X.
  38. ^ M. Russ (2004), Sound Synthesis and Sampling (3 ed.), Burlington MA: Elsevier, p. 66, ISBN 0-240-52105-6.
  39. ^ N. Rama Lohan (2 March 2007), "Dawn of the plastic age", Malaysia Star, archived from the original on 5 August 2011.
  40. ^ D. Rimmer (2003), New Romantics: The Look, London: Omnibus Press, ISBN 0-711-99396-3.
  41. ^ a b T. Cateforis, The Death of New Wave, archived from the original (PDF) on 5 August 2011.
  42. ^ S. Reynolds (2005), Rip It Up and Start Again Postpunk 1978–1984, London: Faber and Faber, pp. 320–2, ISBN 0-571-21570-X.
  43. ^ S. Reynolds (2005), Rip It Up and Start Again Postpunk 1978–1984, London: Faber and Faber, pp. 334–5, ISBN 0-571-21570-X.
  44. ^ S. Reynolds (2005), Rip It Up and Start Again Postpunk 1978–1984, London: Faber and Faber, p. 342, ISBN 0-571-21570-X.
  45. ^ M. Jenkins (2007), Analog Synthesizers: Understanding, Performing, Buying: from the Legacy of Moog to Software Synthesis, Amsterdam: Elsevier, p. 171, ISBN 0-240-52072-6.
  46. ^ S. T. Erlewine, "Howard Jones", Allmusic, archived from the original on 5 August 2011.
  47. ^ S. Bultman, "The Riddle: Nik Kershaw", Allmusic, archived from the original on 5 August 2011.
  48. ^ J. Berens (Jul 1985), "What makes Nik tick, a tiny teen idol speaks out", Spin, 1 (3): 14, ISSN 0886-3032.
  49. ^ A. Kellman, "Bronski Beat", Allmusic, archived from the original on 6 August 2011.
  50. ^ S. T. Erlewine, "Thompson Twins", Allmusic, archived from the original on 5 August 2011.
  51. ^ K. Hayes, "a-ha", Allmusic, archived from the original on 6 August 2011.
  52. ^ "House", Allmusic, archived from the original on 10 March 2011.
  53. ^ J. Bush (2001), "Juan Atkins", in V. Bogdanov, ed. (ed.), All Music Guide to Electronica: the Definitive Guide to Electronic Music (4 ed.), Milwaukee, WI: Backbeat Books, p. 27, ISBN 0-879-30628-9 {{citation}}: |editor= has generic name (help).
  54. ^ S. Reynolds (2005), Rip It Up and Start Again Postpunk 1978–1984, London: Faber and Faber, p. 535, ISBN 0-571-21570-X.
  55. ^ S. T. Erlewine, "The Smiths", Allmusic, archived from the original on 27 July2011 {{citation}}: Check date values in: |archivedate= (help).
  56. ^ S. T. Erlewine, "R.E.M.", Allmusic, archived from the original on 27 July 2011.
  57. ^ J. Ankeny, "Pet Shop Boys", Allmusic, archived from the original on 6 August 2011.
  58. ^ S. T. Erlewine, "Erasure", Allmusic, archived from the original on 6 August 2011.
  59. ^ A. Kellman, "The Communards", Allmusic, archived from the original on 6 August 2011.
  60. ^ S. Thornton (2006), "Understanding Hipness: 'Subcultural capital' as feminist cultural tool", in A. Bennett, B. Shank and J. Toynbee, eds (ed.), The Popular Music Studies Reader, London: Routledge, p. 102, ISBN 0-415-30709-0 {{citation}}: |editor= has generic name (help)CS1 maint: multiple names: editors list (link).
  61. ^ a b G. McNett (12 October 1999), "Synthpop Flocks Like Seagulls", Long Island Voice, archived from the original on 6 August 2011.
  62. ^ N. Forsberg, "Synthpop in the USA", Release Music Magazine, archived from the original on 6 August 2011.
  63. ^ M. Sutton, "Celebrate the Nun", Allmusic, archived from the original on 6 August 2011.
  64. ^ C. Gordon (23 October 2009), "The decade that never dies Still '80s Fetishizing in '09", Yale Daily News, archived from the original on 6 August 2011.
  65. ^ "Indie Electronic", Allmusic, archived from the original on 16 February 2011.
  66. ^ S. Leckart (28 August 2006), "Have laptop will travel", MSNBC, archived from the original on 16 February 2011.
  67. ^ D. Lynskey (22 March 2002), "Out with the old, in with the older", Guardian.co.uk, archived from the original on 16 February 2011.
  68. ^ M. Goldstein (16 May 2008), "This cat is housebroken", Boston Globe, archived from the original on 16 February 2011.
  69. ^ J. Walker (5 October 2002), "Popmatters concert review: ELECTROCLASH 2002 Artists: Peaches, Chicks on Speed, W.I.T., and Tracy and the Plastics", Boston Globe, archived from the original on 16 February 2011.
  70. ^ J. Wenzel (30 May 2008), "So-cool U.K. quartet Ladytron brings electro-pop to Gothic", Denver Post, archived from the original on 16 February 2011.
  71. ^ J. Harris (2009), Hail!, Hail! Rock 'n' Roll, London: Sphere, p. 78, ISBN 1-84744-293-5.
  72. ^ a b c T. Cateforis (2011), Are We Not New Wave?: Modern Pop at the Turn of the 1980s, Ann Arbor MI: University of Michigan Press, pp. 218–9, ISBN 0472034707. Cite error: The named reference "Cateforis2011pp218-9" was defined multiple times with different content (see the help page).
  73. ^ Collett-White, Mike; Martin, Cindy (27 January 2009). "UK gaga for electro-pop, guitar bands fight back". Reuters. Retrieved 20 June 2011.
  74. ^ Sullivan, Caroline (17 December 2008). "Slaves to synth". The Guardian. guardian.co.uk. Retrieved 20 June 2011.
  75. ^ "Perfume becomes first technopop group at #1 since YMO", tokyograph.com, 23 April 2008, archived from the original on 22 August 2011.
  76. ^ a b Template:Ja icon"08's J-pop Post-Perfume Divas". All About.co.jp. (Translation)
  77. ^ Edwards, Gavin (1 July 2008). "In the Studio: Lily Allen Makes "Naughty" Follow-Up". Rolling Stone. Wenner Media. Retrieved 3 April 2010.
  78. ^ Guha, Rohin (2 October 2009). "Calvin Harris: The New King of Electropop". BlackBook. BlackBook Media Corporation. Retrieved 10 June 2011.
  79. ^ Murray, Robin (1 June 2009). "Frankmusik Album Update". Clash. Retrieved 20 June 2011.
  80. ^ "BBC Sound of 2010: Hurts". BBC News. BBC News Online. 5 January 2010. Retrieved 20 June 2011.
  81. ^ Woo, Jen (29 June 2010). "Electric Daisy Carnival at the Los Angeles Memorial Coliseum". Santa Barbara Independent. Retrieved 13 July 2010.
  82. ^ Lipshutz, Jason (4 January 2010). ""Party" just beginning for electro-pop duo LMFAO". Billboard. Reuters. Retrieved 31 January 2010.
  83. ^ Menze, Jill (9 August 2009). "Electro-Pop Act Owl City Takes Off With 'Fireflies'". Billboard. Nielsen Business Media, Inc. Retrieved 20 June 2011.
  84. ^ Pietroluongo, Silvio (29 October 2009). "Owl City's 'Fireflies' Lands At No. 1 On Hot 100". Billboard. Nielsen Business Media, Inc. Retrieved 20 June 2011.
  85. ^ McCormick, Neil (2010-03-24). "Jay Sean and Taio Cruz wowing America". Daily News. New York. Retrieved 2011-09-12.
Bibliography
  • T. Cateforis (2011), Are We Not New Wave?: Modern Pop at the Turn of the 1980s, Ann Arbor MI: University of Michigan Press
  • S. Borthwick and R. Moy (2004), Popular Music Genres: an Introduction, Edinburgh: Edinburgh University Press
  • P. Bussy (2004), Kraftwerk: Man, Machine and Music (3 ed.), London: SAF
  • 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
  • P. Scaruffi (2003), A History of Rock Music: 1951–2000, iUniverse
  • J. Stuessy and S. D. Lipscomb (2008), Rock and Roll: its History and Stylistic Development (6 ed.), London: Pearson Prentice Hall


Retrieved from "https://en.wikipedia.org/w/index.php?title=Synth-pop&oldid=456352295"