Bruger:Z33k/Synthpop
| Synthpop | |
|---|---|
| Stilistisk oprindelse: | Elektronisk musik New wave Post punk Disco Popmusik Krautrock |
| Kulturel oprindelse: | I midten af/sent i 1970'erne/tidligt i 1980'erne i Europa, Nordamerika, Japan |
| Typiske instrumenter: | Synthesizer – Trommemaskine – Basguitar – Tape loop – Trommer – Guitar – Sequencer – Keyboard – Vocoder – Sampler |
| Mainstream popularitet: | Stor, verdensomspændende, 1980'erne (første bølge) og sent i 2000'erne (anden bølge) |
| Afledte former: | Electroclash, Ambient pop |
| Undergenrer | |
| Elektropop, Futurepop | |
| Fusionsgenrer | |
| Synthpunk | |
| Regionale scener | |
| Coldwave | |
Synthpop er en genre inden for popmusik hvor synthesizeren er det dominerende musikinstrument. Den udsprang som en del af new wave-bevægelsen sent i 1970'erne og midten af 1980'erne, og har fortsat med at eksistere og udvikle sig lige siden. Genren har haft stigende popularitet i det 21. århundrede.
Karakteristik
[redigér | rediger kildetekst]Mens det meste af nutidens populærmusik i den industrialiserede del af verden er udført via elektroniske musikinstrumenter, har synthpop sin egen stilistiske tendenser som adskiller sig fra andet musik produceret på samme måde. Disse inkluderer udnyttelsen af det kunstige (fx sammensætningen af lyde af bølgeformer) hvor synthesizeren ikke er brugt til at efterligne akustiske instrumenter, brugen af rytmer af mekaniske lyde, vokalarrangementer som et kontrapunkt til det kunstige i instrumenter, og et riff-mønster som en effekt. Sangenes struktur i synthpop ligner som oftest strukturen i populærmusik.
Historie
[redigér | rediger kildetekst]Indflydelser
[redigér | rediger kildetekst]Komponister af avantgarde musik og konkret musik fra midten af det 20. århundrede, så som Karlheinz Stockhausen, var pioneerer inden for udviklingen af elektronisk musik. Dog, var instrumenterne oprindeligt store, meget komplekse, temperamentsfulde og dyre. Brugen af synthesizere i rockmusik begyndte i 1960'erne, især med The Beatles. I de sene 1960'ere var der en strøm af albumudgivelser der benyttede Moog-synthesizeren, fra artister som Perrey and Kingsley, Dick Hyman og, i særdeleshed, Wendy Carlos. I 1972 havde jazzmusikeren Stan Free, under pseudonymet Hot Butter, et top 10 hit i USA og Storbritannien med en coverversion af Gershon Kingsleys sang "Popcorn" fra 1969. Den betragtes som en forløber til synthpop-genren grundet brugen af Moog-synthesizeren.[1] David Bowie, Roxy Music og Kraftwerk påvirkede den første bølge af britisk synthpop.[2]
Den første bølge: 1977-1990
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I 1977 skrev Giorgio Moroder sammen med Donna Summer disco-sangen I Feel Love. Selvom det først og fremmest var en disco-sang, havde de programmerede arpeggio-rytmer en dybtegående indflydelse på de bands der senere ville blive betegnet som synthpop. Det samme år købte Ultravox medlem Warren Cann en Roland TR-77 trommemaskine som først kunne høres på singlen "Hiroshima Mon Amour" fra oktober 1977.
I 1978 udgav den første inkarnation af the Human League fra Sheffield i England, debutsinglen "Being Boiled". I USA bevægede Devo, som havde brugt synthesizere siden bandets begyndelse i 1975, sig mod en mere elektronisk lyd.
I Storbritannien havde de oprindelige synthesizer-bands en lyd der for det meste var mørk, lunefuld og robotagtig, med en æstetik fra avantgarde art rock. I sommeren 1979 toppede Tubeway Army, et ikke særligt kendt bandt fra vest London, der havde droppet deres oprindelige punkrock image, de britiske hitlister med singlen "Are Friends Electric?" og albummet Replicas. Dette fik singer-songwriter Gary Numan til at go solo for samme år at udgive det Kraftwerk-inspirerede album The Pleasure Principle, som var endnu et #1-album. Han fik sit andet #1 hit med sangen "Cars".
This Zeitgeist of revolution in electronic music performance and recording/production was encapsulated by then would be record producer, Trevor Horn of The Buggles in the international hit "Video Killed the Radio Star".
Giorgio Moroder samarbejdede med bandet Sparks på deres album, No. 1 In Heaven. Andre fulgte snart efter, heriblandt Frank Tovey, der optrådte under navnet Fad Gadget. Tovey, som var signet til Daniel Miller's Mute Records, gjorde brug af "fundne objekter" så som flasker og barberskravere i hans indspilninger. Selv havde Daniel Miller en rolle som kunstner i den nye futuristiske bevægelse under navnet The Normal, som udgav singlen "Warm Leatherette". Selvom singlen ikke kom på hitlisterne blev den en kultfavorit, og er blevet indspillet af mange artister siden dens udgivelse, heriblandt Grace Jones, Duran Duran og Nine Inch Nails.
Lyden af synthesizere kom til at dominere popmusikken i de tidligere 1980'ere, såvel som til at erstatte discomusikken på natklubberne i Europa. Andre succesfulde synthpop-artister i denne periode tæller Soft Cell, Depeche Mode, Yazoo, Heaven 17, Japan, Eurythmics og Tears for Fears (selvom de to sidstnævnte senere fik en bredere rock- og poplyd) Real Life, Camouflage, Modern Talking, Bananarama er også eksempler på synthpop-bands.
I den tidlige synthpop skilte synthesizeren sig ud og musikken lød uhyggelig, steril og en anelse truende.
In early synthpop the synthesizer stood out and the music sounded eerie, sterile and slightly menacing. By the mid 1980's the technology had improved to the point that synthpop acts used the instrument to create a sound that resembled many instruments and allowed mainstream rock and pop acts to incorporate the synthesizer into their sound. At this point the synthesizer did not stand out and the differences between synthpop and mainstream music started to decrease.[2][3] According to music writer Simon Reynolds the hallmark of original synthpop was its "emotional, at times operatic singers" such as Marc Almond, Alison Moyet and Annie Lennox.[4]
In the United States, where synthpop is considered a sub genre of New Wave, the genre became popular in large part due to the cable music channel MTV.
1991-early 2000s: Synthpop goes out of style
[redigér | rediger kildetekst]In Europe, South America, Australia, and Asia, synthpop remained more widely accepted. Eventually, the global synthpop scene re-emerged in the United States with the growing success of American record labels such as A Different Drum. Synth-pop pioneers in Latin America during the 80s were Virus.
By about the end of 1990 and the beginning of 1991[5], synthpop declined in popularity as Gangsta rap, Acoustic Music, grunge and also urban music began to replace its popularity. The bulk of electronic popular music in the nineties came from dance music genres such as house and techno. These music styles are usually not included in synthpop.
Some bands embraced by modern synthpop fans like Red Flag and Anything Box were dropped by their labels and began self-releasing new albums. Newer artists, such as Joy Electric have been influenced by the pioneering analog-coldwave sounds of the mid 1970's to early 1980s and have established a purist sound taken from the pre-sampling era. Low-fidelity synthpop artists Stephin Merritt of Magnetic Fields, Microfilm and Ariel Pink have found success on independent labels.
Synthpop did not entirely fall off the radar in the '90s however: a few Alternative acts continued to experiment with electronics and pop music; examples include Björk, Radiohead, Nine Inch Nails, No Doubt, Smashing Pumpkins, Blur, U2 and R.E.M..
Second wave, 2004 to present
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Synthpop has also begun to re-emerge as some indie artists have incorporated the sound, slowly increasing the popularity of the genre. Some of the bands during the early-to-mid 2000s that helped the development of the genre have included Goldfrapp, The Postal Service, the Junior Boys, The Knife, and particularly The Killers, whose 2004 debut album Hot Fuss achieved widespread popularity and was considered an authentic throwback to 80s synthpop by many. However, their later works have moved away from the genre. LCD Soundsystem is another key artist in synthpop's development during the 21st century. MGMT's debut album Oracular Spectacular, originally released digitally in late 2007, achieved success with their lead single "Kids" and has led the way for chart success for other synthpop and indie electronic acts such as Hot Chip, Cut Copy, Lights[6], Metric, Owl City (number 1 US single)[7], Phoenix, Passion Pit, La Roux[8], and even the Yeah Yeah Yeahs, who switched to an almost entirely electronic sound for their 2009 album It's Blitz! after being part of the garage rock revival movement earlier in the decade.
Out of all of the original 80s synthpop bands, New Order, Erasure, Pet Shop Boys, Duran Duran, and particularly Depeche Mode, although nowhere near the peak of their popularity during the '80s and early '90s, are among the only ones that continue to achieve international success.
Referencer
[redigér | rediger kildetekst]- ^ Hot Butter bio by Allmusic
- ^ a b Allmusic Synthpop Genre
- ^ 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
- ^ The 1980s revival that lasted an entire decade by Simon Reynolds for The Guardian 22 January, 2010
- ^ www.amazon.com/Camouflage/dp/B000RHN97M
- ^ Allmusic Lights bio
- ^ Owl City Chart History Billboard
- ^ Allmusic La Roux bio
Eksterne henvisninger
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