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Discuss : New Wave, Post Punk, Synthpop
The term New Wave itself is a source of much confusion. It was introduced in 1976 in Great Britain by Sex Pistols manager Malcolm McLaren as an alternative label for what was also being called "punk". The term referenced the avant-garde, stylish French New Wave film movement of the 1960s. The label was soon picked up by British punk fanzines such as Sniffin' Glue and then the professional music press. Thus, the term "New Wave" was initially interchangeable with "punk".

In the United States, Seymour Stein, the head of Sire Records, needed a term by which he could market his newly signed bands, who had frequently played the club CBGB. Because radio consultants in the U.S. had advised their clients that punk rock was a fad (and because many stations that had embraced disco had been hurt by the backlash), Stein settled on the term "New Wave". Like those film makers, his new artists, such as Ramones and Talking Heads, were anti-corporate, experimental, and from a generation that had grown up as critical consumers of the art they now practiced.

Soon, listeners began to differentiate some of these musicians from "true punks". The music journalist Charles Shaar Murray, in writing about the Boomtown Rats, has indicated that the term New Wave became an industry catch-all for musicians affiliated with the punk movement, but in some way different from it:

The Rats didn’t conform precisely to the notional orthodoxies of punk, but then neither did many other bands at the forefront of what those who were scared of the uncompromising term 'punk' later bowdlerized to New Wave. You weren’t allowed to have long hair! The Ramones did. Guitar solos verboten! The defence calls Television. Facial hair a capital offence! Two members of The Stranglers are in mortal danger. Age police on the prowl for wrinklies on the run! Cells await Ian Dury, Knox from The Vibrators and most of The Stranglers. Pedal steel guitars and country music too inextricably linked with Laurel Canyon coke-hippies and snooze-inducing Mellow Mafia singer/songwriterismo. Elvis Costello, you’re busted.

Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity, or more polished production, was categorised as "New Wave". This came to include musicians who had come to prominence in the British pub rock scene of the mid-1970s, such as Ian Dury, Nick Lowe, Eddie and the Hot Rods and Dr Feelgood; acts associated with the New York club CBGBs, such as Television, Patti Smith, and Blondie; and singer-songwriters who were noted for their barbed lyrical wit, such as Elvis Costello, Tom Robinson and Joe Jackson. Furthermore, many artists who would have originally been classified as punk were also termed New Wave. A 1977 Phonogram compilation album of the same name (New Wave) features US artists including the Dead Boys, Ramones, Talking Heads and The Runaways.

Later still, "New Wave" came to imply a less noisy, more pop sound, and to include acts manufactured by record labels, while the term post-punk was coined to describe the darker, less pop-influenced groups, as Siouxsie & the Banshees, The Cure, Soft Cell, and The Psychedelic Furs. Although distinct, punk, New Wave, and post-punk all shared common ground: an energetic reaction to the supposedly overproduced, uninspired popular music of the 1970s.

Tom Petty (probably in jest) has taken credit for "inventing" New Wave. He has been quoted as saying that journalists struggled to define his band, The Heartbreakers, recognising they were not punk rock, but still wanting to identify them with Elvis Costello and the Sex Pistols. He also suggests – again, probably half-jokingly – that the song "When the Time Comes" from the You’re Gonna Get It! album (1978) "might have started New Wave. Maybe that was the one."

New Wave in the United States is a popular catchall term used to describe music that emerged in the late 1970s and crested during the 1982-1983 period in what was dubbed the second British Invasion when groups deemed “New Wave” scored high on the charts. The artists deemed “New Wave” in the late 1970s such as Elvis Costello, The Police, Gary Numan, and Squeeze dovetails with the original definition of the genre. Starting in the early 1980s and continuing until around 1988, the term "New Wave" was used in America to describe nearly every new pop or pop rock artist that largely used synthesizers. Examples of artists defined in the United States as New Wave during this period that would not fit the original definition include Duran Duran, A Flock of Seagulls, Depeche Mode, Eurythmics, The Fixx, Thompson Twins, Tears For Fears, The Human League, Men Without Hats, Thomas Dolby, and Culture Club. The term continues to be used today to describe those groups.

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During the first wave of punk, roughly spanning 1974–1978, acts such as the Sex Pistols, The Clash, The Ramones, Patti Smith and The Damned began to challenge the current styles and conventions of rock music by stripping the musical structure down to a few basic chords and progressions with an emphasis on speed. Yet as punk itself soon came to have a signature sound, a few acts began to experiment with more challenging musical structures, lyrical themes, and a self-consciously art-based image, while retaining punk's initial iconoclastic stance.

Classic examples of post-punk outfits include The Psychedelic Furs, The Birthday Party, The Fall, Gang of Four, Siouxsie and the Banshees,Joy Division, New Order, Killing Joke, Echo & the Bunnymen, The Cure, Bauhaus, Wire and Tubeway Army. Bands such as Crass and Throbbing Gristle also came within the scope of post-punk, as with several outfits formed in the wake of traditionally punk rock groups: Magazine from Buzzcocks, for instance, or Public Image Ltd. from the Sex Pistols. A list of predecessors to the post-punk genre of music might include Television, whose album Marquee Moon, although released in 1977 at the height of the punk movement, is considered definitively post-punk in style. (However, many[specify] would argue that bands such as Television, Talking Heads, Siouxsie and the Banshees, and the Voidoids were all core punk, as it was the raw originality and diversity of sound and style that was punk.) Other groups, such as The Clash, remained predominantly punk in nature, yet inspired and were inspired by the experimentalism of the post-punk movement, most notably in their album Sandinista!.

Championed by late night BBC disc jockey John Peel and record label/shop Rough Trade (amongst others, including Postcard Records, Factory Records, Axis/4AD, Falling A Records, Industrial Records, Fast Product, and Mute Records), "post-punk" could arguably be said to encompass many diverse groups and musicians. The original post-punk movement took place largely in the United Kingdom, with significant scenes throughout the world, though North American and other non-British bands weren't often recognized worldwide. Some notable exceptions include North Americans Pere Ubu, Suicide, Mission of Burma and early Hüsker Dü, Brazil's Legião Urbana, Australia's The Birthday Party and The Church, and Ireland's U2 and The Virgin Prunes.

Around 1977, in North America, the New York led No Wave movement was also tied in with the emerging eurocentric post-punk movement. With bands and artists such as Teenage Jesus and the Jerks, Glenn Branca, Mars, James Chance and the Contortions, DNA, Bush Tetras, Theoretical Girls, Swans, and Sonic Youth on their first self-titled album recorded by Don Hunerberg. The No Wave movement focused more on performance art than actual coherent musical structure. The Brian Eno produced No New York compilation is considered the quintessential testament to the history of No Wave.

The original post-punk movement ended as the bands associated with the movement moved away from its aesthetics, just as post-punk bands had originally left punk rock behind in favor of new sounds. Many post-punk bands, most notably The Cure and Siouxsie & the Banshees, evolved into gothic rock (formerly a style of the larger post-punk movement) and became identified with the goth subculture. Some shifted to a more commercial New Wave sound, while others were fixtures on American college radio and became early examples of alternative rock.

The turn of the 21st century saw a post-punk revival in British and American indie rock, which soon started appearing in many different countries as well. The earliest signs of a post-punk revival took place with the emergence of various underground bands in the mid-90's. However, the first commercially successful bands The Rapture, Liars, Interpol, The Libertines, Franz Ferdinand and Editors surfaced in the late 90's to early 00's. These bands made music with recognizable post-punk influences, even accompanied with arty, almost modish fashions copied from original post-punk bands. Modern post-punk is far more commercially successful than in the 1970s and 1980s. The post-punk revival is unique in modern rock trends, in that it has retained a strong following even after similar 80's revival genres such as electroclash have fallen out of style.

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Synthpop is a subgenre of New Wave and pop music in which the synthesizer is the dominant musical instrument. It is most closely associated with the era between the late 1970s and early to middle 1980s, although it has continued to exist and develop ever since. Kraftwerk (from Germany) and Yellow Magic Orchestra (from Japan) are often hailed as the pioneers of the style.

In 1978, the self titled debut by the seminal Yellow Magic Orchestra was released in Japan. The same year, the British group Ultravox released their third album, Systems of Romance, which featured synthesizers more prominently than their earlier work. Other pioneering British Synthpop acts began to surface, including Gary Numan and The Human League. The original Synthpop groups had a sound that was generally dark, moody and robotic. Fad Gadget, who was signed to Daniel Miller's Mute Records, was particularly dark and menacing and his stage shows had a Performance art quality to them. At the same time, Giorgio Moroder collaborated with former glam rock group Sparks on their album, No. 1 In Heaven.

Synthpop continued to evolve in the early 1980s, often in a more radio friendly, pop direction thanks notably by the band Duran Duran. Duran Duran made the music into danceable music and quickly replaced 70's Disco in clubs around Europe. Soon a flood of bands followed Duran Duran lead most notably kajagoogoo, but relied on 3 minute pop. The sounds of synthesizers dominated the pop music of the era. Albums such as Gary Numan's Telekon (1980), Ultravox's Vienna (1980), The Human League's Dare (1981), Depeche Mode's Speak and Spell (1981), Soft Cell's Non-Stop Erotic Cabaret (1981), Duran Duran's Rio (1982), Kajagoogoo's White Feathers(1982), Landscape's From the Tearooms of Mars...to the Hellholes of Uranus (1981), The The's Soul Mining (1983), Visage's Visage (1980), and former Ultravox singer John Foxx's Metamatic (1980) typified the early synthpop sound.

The 1983 album Burning Bridges (released as Naked Eyes in the U.S.and Canada), by the group Naked Eyes, was the first pop LP to extensively feature the Fairlight CMI.Peter Gabriel and Kate Bush had used the sampling synthesiser on prior efforts, but the usage had been far less than normal than Naked Eyes would employ on their debut effort. The CMI (and similar workstation-type machines such as the Synclavier and PPG Wave) would become commonplace in the movement, eventually dying out as inexpensive digital samplers and eventually personal computers duplicated the capabilities of these machines.

Other key synthpop or synthpop-influenced groups and artists from the early-mid 1980s include Eurythmics, Depeche Mode, Yazoo, Erasure, a-ha, A Flock of Seagulls, Tears for Fears, Pet Shop Boys, Devo, Berlin, OMD, New Order, Thomas Dolby, Frankie Goes To Hollywood, Alphaville, Thompson Twins, Gary Numan, Bronski Beat, Heaven 17, Howard Jones, Blancmange, Yello, Paul Haig, Animotion, Propaganda, Modern Talking, Psyche, The Buggles, Kajagoogoo, Ultravox, Missing Persons, Real Life, The System, and even early Ministry.

Synthpop is sometimes confused with electropop, which is generally regarded to be a particular style of synthpop that incorporates the more robotic elements and feel of electro music. The term "synthpop" has also become increasingly used in goth and industrial circles to describe various alternative electronic artists who have used influences from synthpop, particularly those in the electronic body music and futurepop genres such as Psyche, Covenant, Mesh, And One, Melotron, S.P.O.C.K, Beborn Beton, VNV Nation and Wolfsheim. It is otherwise generally used in its more classic sense, referring to early-to-middle 1980s synthesizer-driven pop acts (e.g., The Human League, Eurythmics), less precisely, to a variety of New Romantic pop acts from the same era (e.g., Duran Duran, Visage, Japan, and Spandau Ballet), and to current and emerging synthesizer-driven pop acts. Synthpop in a kind way helped the emergence and the influence Techno music where a flood of artist site Synthpop acts such as Depeche Mode, Duran Duran, Human League, Visage, Soft Cell, and Alphaville as influence to either getting them into dance/electronic music or just being into music in general. These artist music are constantly covered and remixed by a many techno and trance artist (e.g., Datura, Aurora, Alex G, Jason nevins)
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