Synth-pop - Knowledge

1972: 820: 963: 1507: 2109: 1160: 690: 1717: 1869: 2493: 8445: 8433: 721:, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but "characterised by a broad set of values that eschewed rock playing styles, rhythms and structures", which were replaced by "synthetic textures" and "robotic rigidity", often defined by the limitations of the new technology, including 737:

horns. Thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, and compressed production, and a more conventional drum sound. Lyrics were generally more optimistic, dealing with more traditional subject matter for pop music such as romance, escapism and aspiration. According to music writer

1713:, a concept album that takes music of 1930s sensibilities as informed by the soundscape of 1980s technology. The proliferation of acts led to an anti-synth backlash, with groups including Spandau Ballet, Human League, Soft Cell and ABC incorporating more conventional influences and instruments into their sounds. 1589:", characteristic of synth-pop and a major influence on the genre, reached the top ten a few weeks later. Duran Duran have been credited with incorporating dance beats into synth-pop to produce a catchier and warmer sound, which provided them with a series of hit singles, beginning with their debut single " 736:

In its second phase in the 1980s, the introduction of dance beats and more conventional rock instrumentation made the music warmer and catchier and contained within the conventions of three-minute pop. Synthesizers were increasingly used to imitate the conventional and clichéd sound of orchestras and

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Synth-pop has received considerable criticism and even prompted hostility among musicians and in the press. It has been described as "anaemic" and "soulless". Synth-pop's early steps, and Gary Numan in particular, were also disparaged in the British music press of the late 1970s and early 1980s for

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bands like Tubeway Army and Devo, British journalists and music critics largely abandoned the term "new wave" in the early 1980s. This was in part due to the rise of new artists unaffiliated with the preceding punk/new wave era, as well as aesthetic changes associated with synth-pop's movement into

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Many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music. The result was often minimalist, with grooves that were "typically woven together from simple repeated riffs often with no harmonic 'progression' to speak of". Early synth-pop has been

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stated that "there was nothing more repellent than the synthesizer". During the decade, objections were raised to the quality of compositions and what was called the limited musicianship of artists. Gary Numan observed "hostility" and what he felt was "ignorance" regarding synth-pop, such as his

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left behind in the studio by another band, and started experimenting with it. This led to a change in the album's sound to electronic new wave. Numan later described his work on this album as a guitarist playing keyboards, who turned "punk songs into electronic songs". A single from the second

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The genre has received criticism for alleged lack of emotion and musicianship; prominent artists have spoken out against detractors who believed that synthesizers themselves composed and played the songs. Synth-pop music has established a place for the synthesizer as a major element of

6885: 2058:, has been seen as marking the end of synth-driven pop and the beginning of the guitar-based music that would dominate rock into the 1990s. By 1991, in the United States synth-pop was losing its commercial viability as alternative radio stations were responding to the popularity of 2219:. The Killers, the Bravery and the Stills all left their synth-pop sound behind after their debut albums and began to explore classic 1970s rock, but the style was picked up by a large number of performers, particularly female solo artists. Following the breakthrough success of 2546:

According to Simon Reynolds, in some quarters synthesizers were seen as instruments for "effete poseurs", in contrast to the phallic guitar. The association of synth-pop with an alternative sexuality was reinforced by the images projected by synth-pop stars, who were seen as

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in his "front room on just a small synthesizer and a drum machine", became their fourth top 5 UK hit; it would later top the charts in multiple countries including the US. Initially dismissed in the music press as a "teeny bop sensation" were Norwegian band

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recalled a great many people "who thought that the equipment wrote the song for you", and asserted: "Believe me, if there was a button on a synth or a drum machine that said 'hit single', I would have pressed it as often as anybody else would have –

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of naming. Hence, the term can be used interchangeably with "synth-pop", but is more frequently used to describe the scene of Japan. The term "techno-pop" became also popular in Europe, where it started: German band Kraftwerk's 1986 album was titled

2579:. Although some audiences were overtly hostile to synth-pop, it achieved an appeal among those alienated from the dominant heterosexuality of mainstream rock culture, particularly among gay, female and introverted audiences. 1735:

In the US (unlike the UK), where synth-pop is sometimes considered a "subgenre" of "new wave" and was described as "technopop" or "electropop" by the press at the time, the genre became popular due to the cable music channel

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the pop mainstream. According to authors Stuart Borthwick and Ron Moy, "After the monochrome blacks and greys of punk/new wave, synthpop was promoted by a youth media interested in people who wanted to be pop stars, such as

2167:. 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. 784:, and instead of looking to America, in its early stages, it consciously focused on European and particularly Eastern European influences, which were reflected in band names like Spandau Ballet and songs like Ultravox's " 1331:", topped the UK charts in the summer of 1979. The discovery that synthesizers could be employed in a different manner from that used in progressive rock or disco, prompted Numan to go solo. On his futuristic album 6123: 549:

Electronic musical synthesizers that could be used practically in a recording studio became available in the mid-1960s, and the mid-1970s saw the rise of electronic art musicians. After the breakthrough of

1888:, who S.T. Erlewine has stated to have "merged the technology-intensive sound of new wave with the cheery optimism of hippies and late-'60s pop", (although with notable exceptions including the lyrics of " 830:

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. The

1541:, the creation of purely electronic sounds and their manipulation became much simpler. Synthesizers came to dominate the pop music of the early 1980s, particularly through their adoption by bands of the 1141:), the album met with poor commercial reception. The album has been considered revolutionary in its use of synthesizers, while others described Wilson's extensive use of the Moog synthesizer as a "loopy 7306:

There was a certain amount of hostility to electronic music when it first came along. People didn't think it was real music; they thought machines did it. There was a lot of ignorance, to be honest.

7452: 4228: 1896:, whose "well-crafted synth-pop" incorporated guitars and other more traditional pop influences that particularly appealed to a teen audience. Pursuing a more dance-orientated sound were 7467: 1473:

the Musicians’ Union bloke said, "If I think you’re making strings sounds out of a synthesizer, I’m going to have you. Video Killed the Radio Star is putting musicians out of business."

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bands that emerged from the movement began to adopt it as a major part of their sound. British punk and new wave clubs were open to what was then considered an "alternative" sound. The

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By the mid-1980s, synth-pop had helped establish the synthesizer as a primary instrument in mainstream pop music. It also influenced the sound of many mainstream rock acts, such as

2003:" (1987). After adding other elements to their sound, and with the help of a gay audience, several synth-pop acts had success on the US dance charts. Among these were American acts 1094:

style with the extensive use of synthesizers, giving it a more synth-pop style; "Was Dog a Doughnut" in particular was an early techno-pop fusion track, which made early use of a

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described as "eerie, sterile, and vaguely menacing", using droning electronics with little change in inflection. Common lyrical themes of synth-pop songs were isolation, urban

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Icons of Rock: Elvis Presley; Ray Charles; Chuck Berry; Buddy Holly; The Beach Boys; James Brown; The Beatles; Bob Dylan; The Rolling Stones; The Who; The Byrds; Jimi Hendrix

9251: 1482:, which some writers have labeled as the first landmark of another electropop era, as well as what for many is the defining album of Devo's career, the overtly synth-pop 939:, as well as music journalist Simon Reynolds, have cited the soundtrack as an inspiration. Electronic music made occasional moves into the mainstream, with jazz musician 1597:" in 1981. They would soon be followed into the British charts by a large number of bands utilising synthesizers to create catchy three-minute pop songs. In summer 1981 6561: 6133: 5644: 4609: 1379:", which has been viewed as integral to the rise of synth-pop. This was followed by a series of landmark releases within the genre, including the 1980 hit singles " 4338: 753:. 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. 7042: 6091: 629:", but "electropop" may also denote a variant of synth-pop that places more emphasis on a harder, more electronic sound. In the mid to late 1980s, duos such as 5931: 1186:

attitude of punk broke down the progressive rock era's norm of needing years of experience before getting up on stage to play synthesizers. The American duo

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In the new millennium, renewed interest in electronic music and nostalgia for the 1980s led to the beginnings of a synth-pop revival, with acts including

1783:" became an instant UK hit before having similar success in the US the following year. The success of synth-pop and other British acts would be seen as a 6742: 5886: 3664: 6025: 5999: 4488: 3922: 1849:

from Spain. The synth-pop scene of Yugoslavia spawned a large number of acts, a number of them enjoying huge mainstream popularity in the country, like

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began moving towards a more electronic sound. At this point synth-pop gained some critical attention, but made little impact on the commercial charts.

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number-one greatest song of all time in November 2021. This wave of revival not only popularized established acts but also enabled new artists like

7734: 3374: 7441: 5863: 1959:, whose use of guitars and real drums produced an accessible form of synth-pop, which, along with an MTV friendly video, took their 1985 single " 1190:, who arose from the post-punk scene in New York, utilised drum machines and synthesizers in a hybrid between electronics and post-punk on their 7477: 6993: 5909: 2793: 2478:

continued to explore the boundaries of the genre, blending it with shoegaze and ambient music to create a complex, layered sound in their album

6295: 5981: 5804: 5611: 5459: 4681: 4594: 1760:" format in US radio stations was also significant in the success of British bands. Reaching No. 2 in the UK in March 1983 and No. 1 on the US 482: 5667: 3007:

The 1980s brought the dawning age of the synthesizer in rock. Synth pop, a spare, synthesizer-based dance pop sound, was its first embodiment.

1462:"; the song topped the UK charts in October 1979 and it also became an international hit; two years later it was the first song aired on MTV. 6822: 7538: 6687: 5565: 3960: 3827: 6473:"PSY Still Stuck at No. 2 as Maroon 5 Tops Hot 100 – "One More Night" spends a fifth week in the top spot, while Ke$ ha crashes the Top 10" 4968: 1606: 5585:

S. Thornton (2006), "Understanding Hipness: 'Subcultural capital' as feminist cultural tool", in A. Bennett; B. Shank; J. Toynbee (eds.),

5241: 4521: 2458:", a synthwave song by the Weeknd, peaked at number one in 29 countries, including the United States, in early 2020; and later became the 1450:. This zeitgeist of revolution in electronic music performance and recording/production was encapsulated by then would-be record producer 7205: 2484:. The genre's adaptability and nostalgic appeal have contributed to its enduring presence and continued evolution in the music industry. 1983:

Synth-pop continued into the late 1980s, with a format that moved closer to dance music, including the work of acts such as British duos

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rhythm machine to popular music, and the band would be a major influence on early British synth-pop acts. The development of inexpensive

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dance club culture of the early 1980s as some DJs attempted to make the less pop-oriented music that also incorporated influences from

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The New Romantic scene had developed in the London nightclubs Billy's and the Blitz and was associated with bands such as Duran Duran,

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in the mid-1980s. The continued influence of 1980s synth-pop could be seen in various incarnations of 1990s dance music, including

1875:(pictured in 1984), frontman of British new wave synth-pop group the Buggles, also produced Frankie Goes to Hollywood's 1984 album 1676: 6229: 6187: 4360: 2143:

from the US, mixing a variety of indie sounds with electronic music, largely produced on small independent labels. Similarly, the

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adopted a style that was highly successful on the US dance charts, but by the end of the decade, the synth-pop of bands such as

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subgenre began in New York at the end of the 1990s, combining synth-pop, techno, punk and performance art. It was pioneered by

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are also regarded as pioneers of the late 1970s that influenced the emerging synth-pop in Britain. In America, post-punk band

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that came to prominence in the period 1976–77 was initially hostile to the "inauthentic" sound of the synthesizer, but many

1021:(OMD) – to 'throw away their guitars' and become a synth act. Kraftwerk had its first hit UK record later in the year with " 578:

beats, led to a more commercial and accessible sound for synth-pop. This, its adoption by the style-conscious acts from the

9319: 7727: 7068: 6371: 1805:, both highly popular outside the US. Indeed, synth-pop was taken up across the world alongside the continuing presence of 1655: 5652: 2198:

all producing records that incorporated vintage synthesizer sounds and styles that contrasted with the dominant genres of

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reflected, "no band has dominated a 12-month period like Frankie ruled 1984". In January 1985, Tears for Fears' single "

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attempted to limit their use. By the end of 1982, these acts had been joined in the charts by synth-based singles from

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in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s. In Japan,

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won multiple awards and was hailed for its energetic embrace of vintage pop sounds. Meanwhile, indie artists such as

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M. Spicer (2010), "Reggatta de Blanc: analysing style in the music of the police", in J. Covach; M. Spicer (eds.),

1387:". OMD became one of the most influential acts of the period, introducing the "synth duo" format to British music. 5935: 3239: 9456: 7720: 7320: 3860: 2020: 1906:(1984), dealing with issues of homophobia and alienation, reached the top 20 in the UK and top 40 in the US. and 1885: 1772: 1590: 1115: 514:

as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in

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Indietronica began to take off in the new millennium as the new digital technology developed, with acts such as

1025:", which reached number 11 in the British Singles Chart and number 12 in Canada. The group was described by the 11536: 7654: 7425: 4844: 3930: 1780: 1241: 11179: 6750: 6335: 5894: 1797:

frequently referred to British synth-pop as "Anglodisco", suggesting a parallel to the contemporary genres of

11464: 11129: 9202: 8138: 6503: 4492: 2227:" (2008), the British and other media proclaimed a new era of female synth-pop stars, citing artists such as 2042:

An American backlash against European synth-pop has been seen as beginning in the mid-1980s with the rise of

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movements in the late 1990s, and in the 2000s synth-pop enjoyed a widespread revival and commercial success.

468: 11474: 11457: 8613: 8539: 8300: 8112: 6051: 5699: 2571:. In the U.S. this led to British synth-pop artists being characterised as "English haircut bands" or "art 1947: 1650:, enjoying top ten hits. The Human League's and Soft Cell's UK number one singles "Don't You Want Me" and " 9197: 8881: 6855: 1703:, who has a background in musical theatre, released his own synth-driven re-imagining of Irving Berlin's " 1654:" became the best selling singles in the UK in 1981. In early 1982 synthesizers were so dominant that the 8549: 6602: 4506: 4302: 3270: 1922: 1877: 1459: 5846: 4871: 2801: 2004: 1996: 1757: 1586: 31: 17: 5917: 3901: 11581: 11486: 11447: 10267: 10262: 10033: 9414: 9055: 8876: 8437: 8163: 8084: 8006: 7647: 7003: 6998: 6192: 5165:

Analog Synthesizers: Understanding, Performing, Buying: from the Legacy of Moog to Software Synthesis

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Analog Synthesizers: Understanding, Performing, Buying: from the Legacy of Moog to Software Synthesis

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1980 also saw the release of where "Video Killed the Radio Star" came from, the Buggles' debut album

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chart, while the song "(Remember the Days of the) Old Schoolyard" was a top 40 hit. That same month,

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chart. In 2009, an underground subgenre with direct stylistic origins to synth-pop became popular,

2244: 11437: 6832: 5626: 4893: 11561: 11556: 11551: 11546: 11541: 11394: 10434: 10355: 9562: 8924: 8476: 8090: 8001: 7097: 6498: 6208: 5571: 5159: 3613: 3498: 2985: 2352: 2256: 1784: 1501: 1282: 1061: 936: 878:. Instrumental prog rock was particularly significant in continental Europe, allowing bands like 587: 363: 7181: 7175: 5426: 3961:"Sheffield's own Kraftwerk: how Cabaret Voltaire and Richard H Kirk put the steel into synthpop" 1916:, which reached No.1 in the UK and the US top ten and spawned several top ten singles. In 1984, 1533:". By the 1980s synthesizers had become much cheaper and easier to use. After the definition of 947:, having a top 10 hit in the United States and United Kingdom in 1972, with a cover of the 1969 10649: 9715: 9441: 9334: 8871: 8598: 8418: 7975: 6353: 5405: 4527: 4260: 4233: 3425:

R. Unterberger (2004), "Progressive rock", in V. Bogdanov; C. Woodstra; S. T. Erlewine (eds.),

3324: 3318: 2833: 2635: 2415: 1704: 1581:. Spandau Ballet were the first band of the movement to have a hit single as the synth-driven " 1525:

The emergence of synth-pop has been described as "perhaps the single most significant event in

1328: 1237: 1229: 966: 952: 840: 785: 698: 567: 559: 343: 8063: 8056: 7559: 4695: 3875: 3702: 3502: 2575:" music, though many British synth-pop artists were highly popular on both American radio and 9877: 9552: 9525: 9378: 9339: 9241: 8983: 8971: 8929: 8843: 8381: 7822: 7517: 7447: 4943: 3728: 3074: 2922: 2480: 2206:. In particular, the Killers enjoyed considerable airplay and exposure and their debut album 2183: 2151:

with their track "Space Invaders Are Smoking Grass" (1998), and pursued by artists including

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celebrating the virtues of amateur musicianship first appeared in a fanzine in December 1976.

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Synth-pop reached its commercial peak in the UK in the winter of 1981–2, with bands such as

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Music Projects with Propellerhead Reason: Grooves, Beats and Styles from Trip Hop to Techno

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in 1978. Foxx left Ultravox the following year and scored a synth-pop hit with the single "

1246: 1191: 974: 10669: 5688: 2953: 2324:". Mainstream female recording artists who have dabbled in the genre in the 2010s include 8: 10907: 10784: 10735: 10158: 9838: 9547: 9501: 9308: 9293: 9077: 8944: 8566: 8526: 8449: 8401: 8241: 8051: 7903: 7839: 7102: 6533: 6148: 3590: 2016: 1749: 1745: 1709: 1213: 741:, the hallmark of 1980s synth-pop was its "emotional, at times operatic singers" such as 9535: 7213: 858:, which allowed much easier use, particularly in live performance was widely adopted by 270: 11531: 10993: 10973: 10747: 10572: 10567: 10370: 10126: 10018: 10008: 9889: 9872: 8469: 7630: 6431: 6168: 5722: 3903:

Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine

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In 2020, the genre experienced a resurgence in popularity as 1980s-style synth-pop and

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music has also become dominated by synth-pop, particularly with girl groups such as

2103: 1051:, and its programmed beats would be a major influence on the later synth-pop sound. 1009:. In 1975, Kraftwerk played their first British show and inspired concert attendees 11414: 11302: 11263: 11164: 11148: 11104: 11035: 10853: 10582: 10414: 10333: 10173: 10013: 9981: 9722: 9633: 9628: 9618: 9530: 9476: 9430: 9175: 8667: 8407: 8396: 8369: 8295: 8214: 8197: 8078: 8045: 6772: 6296:"The Naked and Famous announce new album, Simple Forms, premiere "Higher" — listen" 6153: 5627:"Information Society – Music Biography, Streaming Radio and Discography – AllMusic" 5118: 5094: 5070: 5046: 4176: 2470: 2309:

has also been described as an electropop artist, with her electropop debut single "

2124: 2062:. Exceptions that continued to pursue forms of synth-pop or rock in the 1990s were 1858: 1830: 1809:, with international hits for German synth-pop as well as Eurodisco acts including 1794: 1610: 1384: 1359: 1323: 1278: 1266: 1206: 1129: 1002: 948: 928: 920: 859: 847: 843: 806: 788:". Later synth-pop saw a shift to a style more influenced by other genres, such as 702: 555: 519: 515: 456: 429: 282: 245: 86: 61: 11174: 8310: 7376: 5354: 586:, led to success for large numbers of British synth-pop acts in the US during the 11362: 10542: 10495: 9865: 9860: 9727: 9598: 9491: 9180: 8993: 8959: 8815: 8763: 8758: 8650: 8603: 8561: 8511: 8375: 8209: 8154: 7968: 7886: 7701: 6272: 2979: 2868: 2455: 2410: 2356: 2160: 2012: 1810: 1744:

in 1982. It made heavy use of style-conscious New Romantic synth-pop acts, with "

1700: 1667: 1602: 1574: 1468: 1443: 1438: 1428: 1407:, has cited OMD as his inspiration to become an electronic musician. Bandleaders 1224: 1124: 1095: 1036: 1031: 1022: 1006: 962: 955:" using a Moog synthesizer, which is recognised as a forerunner to synth-pop and 932: 883: 854:

in 1964, which produced completely electronically generated sounds. The portable

810: 718: 595: 338: 231: 140: 9399: 6978: 5831: 2893: 1133:(1968). Although it was highly praised by some critics and musicians (including 819: 689: 11419: 11307: 11243: 11109: 11082: 11062: 10963: 10953: 10902: 10752: 10466: 10390: 10345: 10141: 10136: 10106: 10096: 10068: 9843: 9831: 9739: 9680: 9520: 9481: 9349: 9231: 9087: 8768: 8709: 8682: 8226: 7743: 7585: 7343: 7234: 5734: 5550: 4915: 4817: 4765: 4541: 4148: 4144:"Gary Barlow didn't just meet his '80s heroes, he made a retro album with them" 4056: 4024: 3983: 3789: 3290: 3227: 3060:, p. 97, "synth pop (also called electro pop, techno pop, and the like)"; 2789: 2643: 2572: 2548: 2535: 2504: 2402: 2360: 2310: 2299: 2175: 2164: 2108: 2043: 1992: 1971: 1951: 1907: 1850: 1818: 1716: 1566: 1546: 1412: 1408: 1281:", which both are regarded as seminal works in early synth-pop. Sheffield band 1187: 1183: 1175: 1154: 1110: 1073: 1056: 1014: 1010: 738: 678: 543: 277: 170: 150: 81: 10557: 4171: 3555: 593:

The term "techno-pop" was coined by Yuzuru Agi in his critique of Kraftwerk's

11525: 11409: 11357: 11268: 11067: 11020: 10912: 10730: 10725: 10703: 10686: 10616: 10599: 10483: 10360: 10291: 10217: 10200: 10075: 9956: 9951: 9946: 9931: 9783: 9710: 9613: 9583: 9567: 9508: 9192: 9072: 8778: 8692: 8640: 8516: 8506: 8305: 8187: 8039: 7980: 7928: 7817: 7773: 7681: 7472: 7292: 7073: 7018: 6692: 6636: 6128: 5385: 4999: 4333: 4306: 3207: 3036: 2757: 2708: 2424: 2398: 2368: 2240: 2213: 2091: 2063: 1988: 1984: 1976: 1854: 1594: 1562: 1538: 1526: 1466:, keyboardist for the Buggles, states, "When we did a rerecorded version for 1442:. Other Japanese synth-pop groups emerging around the same time included the 1423: 1396: 1259: 1250:(1979), developed a "fun-loving and breezy" sound, with a strong emphasis on 1219: 1103: 634: 630: 444: 348: 323: 259: 3460: 2934:

Fisher, Mark (2010). "You Remind Me of Gold: Dialogue with Simon Reynolds".

2492: 11469: 11379: 11367: 11324: 11211: 11072: 11025: 11000: 10794: 10718: 10609: 10587: 10547: 10532: 10424: 10328: 10306: 10296: 10252: 10247: 10163: 10063: 10043: 10001: 9966: 9894: 9850: 9754: 9383: 9354: 9035: 9003: 8853: 8783: 8773: 8704: 8248: 8236: 8231: 8204: 8182: 7953: 7943: 7913: 7871: 7829: 7686: 6860: 6597: 6124:"Empire of the Sun's Electro-Pop Is Huge in Australia and Heading Your Way" 6056: 5464: 4440: 4365: 4127: 2647: 2568: 2516: 2500: 2440: 2382: 2378: 2329: 2228: 2171: 2144: 2112: 2075: 2008: 1931: 1912: 1897: 1846: 1838: 1814: 1728: 1671: 1659: 1651: 1643: 1631: 1615: 1598: 1542: 1506: 1497: 1463: 1404: 1400: 1392: 1388: 1309: 1270: 1262:, and the band would be a major influence on early British synth-pop acts. 1209: 1138: 1120: 1048: 924: 916: 891: 871: 750: 746: 714: 658: 654: 579: 378: 193: 9030: 6652:"Sheffield: 'Reputation' Is the Most Intimate LP of Taylor Swift's Career" 5488:

Origins of a Song 202 True Inspirations Behind the World's Greatest Lyrics

3115: 11479: 11384: 11329: 11312: 11236: 11221: 11169: 11050: 11045: 11005: 10988: 10983: 10968: 10875: 10769: 10713: 10577: 10562: 10537: 10505: 10301: 10277: 10153: 10148: 10091: 10058: 10048: 9991: 9976: 9971: 9936: 9909: 9821: 9776: 9695: 9673: 9645: 9638: 9588: 9557: 9447: 9303: 9298: 9236: 9226: 9040: 8949: 8714: 8623: 8618: 8608: 8588: 8573: 8544: 8413: 8263: 8192: 7963: 7881: 7844: 7834: 7712: 7696: 5460:"Frankie Goes To Hollywood: 'No one could touch us – people were scared'" 5455: 4122: 3660: 3638: 3585: 3483: 2824: 2671: 2627: 2600: 2560: 2556: 2512: 2496: 2432: 2252: 2199: 2195: 2191: 2087: 2067: 1943: 1927: 1893: 1872: 1868: 1802: 1741: 1578: 1455: 1451: 1338: 1228:

in February 1978, leading off with the single "Electrical Language" with

1199: 1134: 1081: 1052: 1044: 986: 851: 772:. It owed relatively little to the foundations of early popular music in 742: 674: 646: 611: 575: 511: 507: 439: 419: 358: 287: 135: 7393:

All Music Guide to Electronica: the Definitive Guide to Electronic Music

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All Music Guide to Electronica: the Definitive Guide to Electronic Music

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music. Other Japanese female technopop artists soon followed, including

2320:

for nine weeks in 2010. She also used the genre on her comeback single "

1127:

synthesizers, and with arrangements somewhat inspired by Wendy Carlos's

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Rock Song Index The 7500 Most Important Songs for the Rock and Roll Era

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S. T. Erlewine (2001), "Yellow Magic Orchestra", in V. Bogdanov (ed.),

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along with a new producer and a more commercial sound led to the album

1585:" reached number 5 on the UK Singles Chart in December 1980. Visage's " 1551: 1530: 1313: 1274: 1163: 994: 944: 903: 895: 887: 875: 867: 789: 777: 706: 670: 626: 606: 551: 130: 10821: 9207: 6931:"Will the world soon wake up to the scent of Perfume? (Daniel Robson)" 6916: 2345: 538:. It arose as a distinct genre in Japan and the United Kingdom in the 11253: 11216: 11114: 11089: 10978: 10933: 10917: 10863: 10789: 10779: 10757: 10679: 10664: 10644: 10604: 10594: 10520: 10500: 10446: 10407: 10385: 10365: 10323: 10235: 10195: 9986: 9926: 9826: 9804: 9749: 9734: 9690: 9608: 9603: 9593: 9388: 9361: 9288: 9261: 9165: 9153: 9108: 9082: 8903: 8886: 8848: 8820: 8803: 8788: 8751: 8741: 8687: 8662: 8645: 8583: 8492: 8391: 8348: 8338: 8290: 8253: 8221: 8107: 8102: 8073: 8034: 7891: 7849: 7812: 7807: 7747: 6961:"Perfume needs to walk a fine line on its path overseas (Ian Martin)" 6919:['08 Post-Perfume J-pop Diva Guide] (in Japanese). All About. 6827: 6096: 2729: 2724: 2719: 2714: 2698: 2667: 2655: 2616: 2612: 2596: 2520: 2447: 2321: 2283: 2220: 2132: 2079: 1798: 1685: 1647: 1639: 1570: 1510: 1364: 1345: 1179: 1171: 1159: 1040: 998: 940: 899: 879: 832: 823: 769: 757: 694: 666: 539: 535: 531: 388: 383: 328: 318: 313: 303: 221: 211: 175: 165: 155: 101: 96: 91: 66: 10402: 3427:

All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul

2867:

S. Borthwick & R. Moy (2004), "Synthpop: into the digital age",

1301:

This is a chord, this is another, this is a third...now start a band

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Signed, Sealed, and Delivered: The Soulful Journey of Stevie Wonder

7023: 6746: 6450: 4201:"Popular Culture Is Eating Its History and OMD Are Not Complaining" 3563: 2663: 2465: 2364: 2337: 2291: 2268: 2208: 2203: 2187: 2179: 2178:. Between 2003 and 2004, it began to move into the mainstream with 1862: 1635: 1569:. They adopted an elaborate visual style that combined elements of 1555: 1514: 1349: 1317: 1195: 1142: 1091: 1077:(1979), all featuring Brian Eno, would also be highly influential. 1026: 982: 855: 523: 308: 9121: 8123: 3064:, p. 2153, "Techno-pop, also termed synth-pop or electro-pop" 11094: 11077: 10885: 10848: 10740: 10691: 10478: 10188: 9170: 9158: 9131: 9067: 8731: 8721: 8578: 8268: 7923: 7908: 7297: 2659: 2651: 2377:, which led to a renewed interest in technopop within mainstream 2325: 2260: 2232: 2136: 2116: 2032: 1834: 1752:

generally considered the first hit by a British act to enter the

1447: 1433: 1212:, which was first featured in their October 1977 single release " 333: 216: 106: 6823:"Christina Aguilera — Bionic A Great: Album Buried in Here" 1756:

top ten as a result of exposure through video. The switch to a "

1619:(1981), which produced a series of hit singles. These included " 1312:, intended their debut album to be guitar driven. In late 1978, 11404: 11317: 11226: 10948: 10880: 10858: 10799: 10762: 10654: 10525: 10515: 10397: 10380: 10318: 10121: 10053: 9904: 9899: 9705: 9219: 9126: 9116: 8966: 7634: 6899:"Charts: Perfume becomes first technopop group at #1 since YMO" 2592: 2503:

in 1986, wearing some of the fashions that were criticised for

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that first became prominent in the late 1970s and features the

373: 226: 145: 7019:"How Dua Lipa and The Weeknd are bringing the 80s back… again" 6562:"My 53 Favorite Madonna Songs (In Honor of Her 53rd Birthday)" 6188:"Electric Daisy Carnival at the Los Angeles Memorial Coliseum" 4969:"Eurythmics Perform 'Sweet Dreams (Are Made of This)' in 1983" 3978: 3976: 3974: 3972: 3970: 2559:'s "pervy" leather jacket, skirt wearing by figures including 1545:

movement. Despite synth-pop's origins in the late 1970s among

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Analog Days: The Invention and Impact of the Moog Synthesizer

2390: 2306: 2264: 2074:. Electronic music was also explored from the early 1990s by 1842: 1806: 1688:

had commercial success mixing synth-pop with influences from

956: 919:. It was the first time many in the United Kingdom had heard 894:

to circumvent the language barrier. Their synthesizer-heavy "

781: 527: 404: 76: 8461: 7639: 5242:"Electornic Yugoton: Sintisajzersko blago bivše Jugoslavije" 5190:"Top 10 synth-pop i electropop bendova u bivšoj Jugoslaviji" 2658:

have sampled 1980s synth-pop songs. Popular artists such as

2023:". Several German synth-pop acts of the late 1980s included 1995:. The Communards' major hits were covers of disco classics " 1674:

also adopted synth-pop into their music on their 1982 album

768:, drawing on the critically derided forms such as disco and 11491: 11273: 11258: 11015: 8029: 7938: 3967: 3700: 2639: 2630:, using names including Model 500, Infinity and as part of 2620: 2394: 2386: 1956: 1689: 1534: 1518: 1286: 773: 638: 571: 7418:"The decade that never dies Still '80s Fetishizing in '09" 6878:(in Japanese). bounce.com. 7 February 2008. Archived from 3880:(4 ed.), Milwaukee, WI: Backbeat Books, p. 516, 2977: 2371:

from 2003. Their breakthrough came in 2008 with the album

2363:, produced technopop music combining 1980s synth-pop with 1623:", which reached number one in the UK at the end of 1981. 8023: 7510: