133-572: The Human League are an English synth-pop band formed in Sheffield in 1977. Initially an experimental electronic outfit, the group signed to Virgin Records in 1979 and later attained widespread commercial success with their third album Dare in 1981 after restructuring their lineup. The album contained four hit singles, including the UK/US number one hit " Don't You Want Me ". The band received
266-666: A Doughnut" in particular was an early techno-pop fusion track, which made early use of a music sequencer . Izitso reached No. 7 on the Billboard 200 chart, while the song "(Remember the Days of the) Old Schoolyard" was a top 40 hit. That same month, the Beach Boys released their album Love You , performed almost entirely by bandleader Brian Wilson with Moog and ARP synthesizers, and with arrangements somewhat inspired by Wendy Carlos's Switched-On Bach (1968). Although it
399-526: A UK hit song by The Undertones . The track " My Perfect Cousin ", which would peak at #9 on the UK charts in May, contained a dig at the perceived "arty" Human League in the lyric: In April 1980, the band was able to release an EP entitled Holiday '80 , containing the principal track "Marianne" and a cover of "Nightclubbing" (written by Bowie and Iggy Pop). The seven-inch version of "Holiday '80" did well enough to get
532-542: A background in musical theatre, released his own synth-driven re-imagining of Irving Berlin's " Puttin' On the Ritz "; resulting in a subsequent long-play, After Eight , 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. In
665-513: A demo tape to record companies under their new name. The tape contained versions of "Being Boiled", "Toyota City" and "Circus of Death". Ware's friend Paul Bower of Sheffield new-wave band "2.3", who had just recorded a single for Bob Last's Edinburgh-based independent label Fast Product , took their demo to Last and he signed the band. The band released their first single, "Being Boiled", in June 1978, which became Fast Product's third release. Although
798-471: A different angle. Ware suggested "The Human League", after a group in the science-fiction board game StarForce: Alpha Centauri . In the game, the Human League arose in 2415 A.D. and were a frontier-oriented society that desired more independence from Earth. Oakey and Marsh agreed on the new name, and in early 1978 The Future became The Human League. Using Future material, the Human League released
931-638: A duo where their partner played all the instrumentation. Although synth-pop in part arose from punk rock , it abandoned punk's emphasis on authenticity and often pursued a deliberate artificiality , drawing on the critically derided forms such as disco and glam rock . It owed relatively little to the foundations of early popular music in jazz , folk music or the blues , 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 " Vienna ". Later synth-pop saw
1064-485: A fourth single be released from the album before the end of 1981. His choice was to be " Don't You Want Me ", a track Oakey considered to be a filler and the weakest track on the album. Oakey fought the decision, believing it would damage the band, but was overruled by Draper, and "Don't You Want Me" was released in November 1981. Aided by an expensive music video (a rarity at the time) directed by film maker Steve Barron ,
1197-448: A hit with their debut single " The Promise ". Several German synth-pop acts of the late 1980s included Camouflage and Celebrate the Nun . Canadian duo Kon Kan had major success with their debut single, " I Beg Your Pardon " in 1989. An American backlash against European synth-pop has been seen as beginning in the mid-1980s with the rise of heartland rock and roots rock . In the UK
1330-430: A large number of acts, a number of them enjoying huge mainstream popularity in the country, like Beograd , Laki Pingvini , Denis & Denis , and Videosex . In the mid-1980s, key artists included solo performer Howard Jones , 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
1463-492: A limited release—because it was unique and at odds with everything else on the market—it was picked up on by NME , who championed the band, although one guest reviewer, John Lydon of Public Image Limited , condemned the band as "trendy hippies". Boosted by critical praise, on 12 June 1978 the band played their first live gig together at Bar 2 in Sheffield's Psalter Lane Art College (latterly Sheffield Hallam University );
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#17328026299881596-575: A major influence on subsequent synth rock. In 1971, the British film 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 Oakey of the Human League and Richard H. Kirk of Cabaret Voltaire , as well as music journalist Simon Reynolds, have cited the soundtrack as an inspiration. Electronic music made occasional moves into
1729-506: A major influence on the later synth-pop sound. David Bowie 's Berlin Trilogy , comprising the albums Low (1977), "Heroes" (1977), and Lodger (1979), all featuring Brian Eno, would also be highly influential. The Cat Stevens album Izitso , released in April 1977, updated his pop rock style with the extensive use of synthesizers, giving it a more synth-pop style; "Was Dog
1862-406: A member of the group, found a minimoog 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 Tubeway Army album Replicas , " Are Friends Electric? ", topped
1995-457: 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 Simon Reynolds , the hallmark of 1980s synth-pop was its "emotional, at times operatic singers" such as Marc Almond , Alison Moyet and Annie Lennox . Because synthesizers removed the need for large groups of musicians, these singers were often part of
2128-476: A plaque commemorated the event until the Psalter Lane site officially closed on 31 August 2008. With their reliance on technology and tape machines, the band had been nervous about playing live. After the Psalter Lane performance, they worried that they had appeared static and uninspiring. A friend of Oakey's who had been in the audience, Philip Adrian Wright , who also had an art and photography background,
2261-469: A proven track record with Janet Jackson , the SOS Band , Alexander O'Neal , and Cherelle . Jam and Lewis had expressed an interest in working with the band after hearing their US releases. Virgin flew the entire band to Minneapolis. The four-month-long recording sessions were beset with creative disputes, with Jam and Lewis having preconceived ideas on how they wanted the album to sound, rejecting most of
2394-428: A series of hit singles, beginning with their debut single " Planet Earth " and the UK top five hit " Girls on Film " 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 Depeche Mode had their first chart success with " New Life ", followed by the UK top ten hit " Just Can't Get Enough ". A new line-up for
2527-539: A series of landmark releases within the genre, including the 1980 hit singles " Messages " and " Enola Gay ". OMD became one of the most influential acts of the period, introducing the "synth duo" format to British music. Vince Clarke , who co-founded the popular synth-pop groups Depeche Mode , Erasure , Yazoo and the Assembly , has cited OMD as his inspiration to become an electronic musician. Bandleaders Andy McCluskey and Paul Humphreys have been described in
2660-633: A shift to a style more influenced by other genres, such as soul music . 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 Mellotron , an electro-mechanical , polyphonic sample-playback keyboard was overtaken by the Moog synthesizer , created by Robert Moog in 1964, which produced completely electronically generated sounds. The portable Minimoog , which allowed much easier use, particularly in live performance
2793-488: A style of electronic dance music influenced by synth-pop and funk that led to the emergence of Detroit techno in the mid-1980s. The continued influence of 1980s synth-pop could be seen in various incarnations of 1990s dance music, including trance . Hip hop artists such as Mobb Deep have sampled 1980s synth-pop songs. Popular artists such as Rihanna , UK stars Jay Sean and Taio Cruz , as well as British pop star Lily Allen on her second album, have also embraced
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#17328026299882926-621: 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 A-ha and Alphaville was giving way to house music and techno . Interest in synth-pop began to revive in the indietronica and electroclash movements in the late 1990s, and in the 2000s synth-pop enjoyed a widespread revival and commercial success. 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
3059-600: A synthesizer, I’m going to have you. Video Killed the Radio Star is putting musicians out of business." 1980 also saw the release of where "Video Killed the Radio Star" came from, the Buggles' debut album The Age of Plastic , 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 Freedom of Choice . The emergence of synth-pop has been described as "perhaps
3192-620: A synthwave song by the Weeknd, peaked at number one in 29 countries, including the United States, in early 2020; and later became the Billboard 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 Dua Lipa , whose retro-influenced album Future Nostalgia won multiple awards and was hailed for its energetic embrace of vintage pop sounds. Meanwhile, indie artists such as M83 continued to explore
3325-478: A viable album, produced by Rushent. Sulley and Catherall, who had just left school, immediately postponed their plans to attend university to work on the album. By this time, the band's commercial success and higher profile had caused their first two albums to start selling again. Reproduction charted for the first time in August 1981, eventually peaking at No. 34, and Travelogue also recharted and returned to
3458-527: Is a music genre that first became prominent in the late 1970s and features the synthesizer as 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 Krautrock of bands like Kraftwerk . It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of
3591-588: The Billboard Hot 100 for nine weeks in 2010. She also used the genre on her comeback single " Die Young ". Mainstream female recording artists who have dabbled in the genre in the 2010s include Madonna , Taylor Swift , Katy Perry , Jessie J , Christina Aguilera , and Beyoncé . In Japan, girl group Perfume , along with producer Yasutaka Nakata of Capsule , produced technopop music combining 1980s synth-pop with chiptunes and electro house from 2003. Their breakthrough came in 2008 with
3724-534: The Band Aid single " Do They Know It's Christmas? ", singing the line "No rain nor rivers flow". Outside Heaven 17, Gregory has been a member of the bands Ugly and Honeyroot , as well as working with ABC , Tina Turner , Grace Jones , Propaganda , Terence Trent D'Arby , Ultravox , La Roux and John Lydon . He was a member of the "supergroup" Holy Holy . He has also established a career in soundtrack music, writing for radio, TV and film. He creates scores in
3857-470: The Brit Award for Best British Breakthrough Act in 1982. Further hits followed throughout the 1980s and into the 1990s, including " Mirror Man ", " (Keep Feeling) Fascination ", " The Lebanon ", " Human " (a second US No. 1) and " Tell Me When ". The only constant band member since 1977 has been lead singer and songwriter Philip Oakey . Keyboard players Martyn Ware and Ian Craig Marsh both left
3990-469: The Japanese Albums chart. Much like Japan, Korean pop music has also become dominated by synth-pop, particularly with girl groups such as f(x) , Girls' Generation and Wonder Girls . In 2020, the genre experienced a resurgence in popularity as 1980s-style synth-pop and synthwave songs from singers such as the Weeknd who gained success on international music charts. " Blinding Lights ",
4123-531: The New Romantic movement. Despite synth-pop's origins in the late 1970s among new wave 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 the pop mainstream. According to authors Stuart Borthwick and Ron Moy, "After
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4256-520: The TR-808 rhythm machine to popular music, and the band would be a major influence on early British synth-pop acts. 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 synth-pop. This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV , led to success for large numbers of British synth-pop acts in
4389-509: The new wave movement of the late 1970s. 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 Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s. In Japan, Yellow Magic Orchestra introduced
4522-409: 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 horns. Thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, and compressed production, and
4655-578: The 1990s were Savage Garden , the Rentals and the Moog Cookbook . Electronic music was also explored from the early 1990s by indietronica bands like Stereolab , EMF , the Utah Saints , and Disco Inferno , who mixed a variety of indie and synthesizer sounds. Indietronica began to take off in the new millennium as the new digital technology developed, with acts such as Broadcast from
4788-575: The Banshees , as early as September 1978. In December 1978, David Bowie appeared in the audience and later declared to NME that he "had seen the future of pop music". In April 1979, the Human League released their first EP on the Fast Product label entitled The Dignity of Labour , which contained four experimental instrumentals. Although the EP barely charted, major record labels began approaching
4921-594: 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 Lady Gaga with her single " Just Dance " (2008), the British and other media proclaimed a new era of female synth-pop stars, citing artists such as Little Boots , La Roux , and Ladyhawke . Male acts that emerged in
5054-521: The British music press of the late 1970s and early 1980s for their German influences and characterised by journalist Mick Farren as the " Adolf Hitler Memorial Space Patrol". In 1983, Morrissey of the Smiths 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
5187-559: The Communards . The Communards' major hits were covers of disco classics " Don't Leave Me This Way " (1986) and " Never Can Say Goodbye " (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 Information Society (who had two top 10 singles in 1988), Anything Box , and Red Flag . British band When in Rome scored
5320-732: The Dark (OMD) – to 'throw away their guitars' and become a synth act. Kraftwerk had its first hit UK record later in the year with " Autobahn ", which reached number 11 in the British Singles Chart and number 12 in Canada. The group was described by the BBC Four program Synth Britannia as the key to synth-pop's future rise there. In 1977, Giorgio Moroder released the electronic Eurodisco song " I Feel Love " that he had produced for Donna Summer , and its programmed beats would be
5453-546: The Human League along with a new producer and a more commercial sound led to the album Dare (1981), which produced a series of hit singles. These included " Don't You Want Me ", which reached number one in the UK at the end of 1981. Synth-pop reached its commercial peak in the UK in the winter of 1981–2, with bands such as OMD , Japan , Ultravox , Soft Cell , Depeche Mode, Yazoo and even Kraftwerk , enjoying top ten hits. The Human League's and Soft Cell's UK number one singles "Don't You Want Me" and " Tainted Love " became
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5586-480: The Human League name came at a heavy price for Oakey. As the band's sole remaining member, he was responsible for all Human League debts and commitments. Furthermore, the terms of the Virgin contract required him to pay Ware and Marsh one per cent of royalties of the next Human League album. The split also jeopardized the band's upcoming tour. With the first performance only ten days away and the music media reporting that
5719-507: The Human League was finished now that "the talented people had left", promoters started threatening to sue Oakey if the concerts were not completed as contracted. To save the tour, Oakey had to recruit new people in a matter of days. He initially intended to hire a single female backing vocalist to replace Ware, who provided high-pitched backing vocals. In a frequently repeated anecdote, Oakey and his then girlfriend went into Sheffield city centre one Wednesday night and visited various venues with
5852-402: The Sheffield scene were also referred to as Futurists, although Oakey himself has said: "We thought we were the punkiest band in Sheffield." Capitalising on the success of the album and their recent No. 1 hit single, " Being Boiled " was re-released and became a Top 10 hit in early 1982. The band toured for the first time together internationally. Concurrently, Dare (later renamed Dare! )
5985-624: The Top 30 for several weeks. Both albums would eventually achieve Gold status. In October 1981, Virgin released a brand new single, " Open Your Heart ", which gave the band another Top 10 hit. The band's new album, Dare , was also released in October 1981 and reached No. 1 in the UK. It spent a total of four weeks at the top spot over the 1981/82 period, remaining in the chart for 77 weeks and eventually going triple platinum. Because of Dare 's success, Virgin executive Simon Draper instructed that
6118-600: The UK and top 40 in the US. and Thompson Twins , whose popularity peaked in 1984 with the album Into the Gap , which reached No.1 in the UK and the US top ten and spawned several top ten singles. In 1984, Frankie Goes to Hollywood released their debut album Welcome to the Pleasuredome (produced by Trevor Horn of the Buggles), with their first three singles, " Relax ", " Two Tribes " and " The Power of Love ", topping
6251-404: The UK chart. The music journalist Paul Lester reflected, "no band has dominated a 12-month period like Frankie ruled 1984". In January 1985, Tears for Fears' single " Shout ", written by Roland Orzabal 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
6384-415: 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 The Pleasure Principle (1979), he played only synths, but retained a bass guitarist and a drummer for the rhythm section. A single from the album, " Cars " topped the charts. Numan's main influence at
6517-702: 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. Similarly, the electroclash subgenre 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), and pursued by artists including Felix da Housecat , Peaches , Chicks on Speed , and Fischerspooner . It gained international attention at
6650-530: The UK, was not as popular as previous releases. Disheartened by being sidelined in Minneapolis and with the direction the band had taken, Adrian Wright left the band to work in film. Crash was generally more popular in the US and internationally than in the UK. The band toured in the UK and internationally in 1986 and 1987 to capitalise on their high-profile at this time. Synth-pop Synth-pop (short for synthesizer pop ; also called techno-pop )
6783-504: The UK. Bob Last believed that the band could be improved further by the addition of one more professional musician, so in April 1981, his associate Jo Callis (formerly of The Rezillos whom Last had previously managed) was invited to become the final permanent member of the band. The next single, " Love Action (I Believe in Love) ", reached No. 3 in the UK in August 1981. The band set about arranging their existing material and demos into
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#17328026299886916-504: 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 MTV , which reached the media capitals of New York City and Los Angeles in 1982. It made heavy use of style-conscious New Romantic synth-pop acts, with " I Ran (So Far Away) " (1982) by A Flock of Seagulls generally considered
7049-569: The US during the Second British Invasion . The term "techno-pop" was coined by Yuzuru Agi in his critique of Kraftwerk's The Man-Machine in 1978 and is considered a case of multiple discovery 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
7182-408: The US the following year. The success of synth-pop and other British acts would be seen as a Second British Invasion . In his early 1980s columns for The Village Voice , music critic Robert Christgau frequently referred to British synth-pop as "Anglodisco", suggesting a parallel to the contemporary genres of Eurodisco and Italo disco , both highly popular outside the US. Indeed, synth-pop
7315-524: The Wheels of Industry ”, “ Sunset Now ”, “ This Is Mine ”, and “ (We Don't Need This) Fascist Groove Thang ” Glenn Peter Gregory was born on 16 May 1958 in Sheffield , England. His father, Howard, was a steel worker. As a teenager, he wanted to be an actor, but he worked in London as a photographer. In 1977, Gregory was part of the band 57 Men, formed by Jack Hues and Nick Feldman , who both later formed
7448-459: The album Game , which led to a renewed interest in technopop within mainstream Japanese pop music. Other Japanese female technopop artists soon followed, including Aira Mitsuki , immi , Mizca , SAWA , Saori Rinne and Sweet Vacation . Model-singer Kyary Pamyu Pamyu also shared the same success as Perfume's under Nakata 's production with the album Pamyu Pamyu Revolution in 2012, which topped electronic charts on iTunes as well as
7581-399: The album Hysteria, so called because of the difficult and tense recording process. It entered the UK album chart at No. 3; however, it climbed no further and critics and fans were divided by the new direction the band had taken. The second single was " Life on Your Own " in mid-1984. The single peaked at No. 16. Later that year, success outside of the Human League came for Oakey in
7714-513: The annual Brit Music awards , and Rushent also took Best Producer for his work on Dare . In November 1982, the Motown influenced electropop single " Mirror Man " reached No. 2 in the UK chart, just missing another Christmas No. 1, which was taken by " Save Your Love " by Renée and Renato . The Human League's work was now recognised on both sides of the Atlantic. In February 1983,
7847-421: The arrival of indie rock bands, particularly the Smiths , 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 grunge . Exceptions that continued to pursue forms of synth-pop or rock in
7980-469: The band Wang Chung . Gregory knew the founding members of the Human League for many years. He had been singing and playing bass guitar in bands with Ian Craig Marsh since 1973, and was later also in a short-lived band with Martyn Ware . In early 1981, he was contacted by Martyn Ware after the original incarnation of the Human League broke up, and was asked to join Heaven 17, a new band resulting from
8113-406: The band in 1980 to form Heaven 17 , leaving Oakey and Adrian Wright to assemble a new line-up. The Human League then evolved into a commercially successful new pop band, with the line-up comprising Oakey, Wright, vocalists Joanne Catherall and Susan Ann Sulley , bassist and keyboard player Ian Burden and guitarist and keyboard player Jo Callis . Wright, Burden and Callis all left the band by
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#17328026299888246-441: The band in an attempt to lure them away from Fast. In May 1979, the band accepted an offer by Richard Branson 's Virgin Records . Because of his label's early support, the band offered Bob Last the position as band manager. In June 1979, the Human League supported Iggy Pop on his European tour, before settling into recording their first single for Virgin. Despite promising them creative freedom, Virgin demanded sweeping changes to
8379-534: The band their first TV appearance on BBC TV's Top of the Pops on 8 May 1980 opening a Peter Powell presented show with Gary Glitter 's "Rock and Roll Part 2". This was to be the only high-profile TV appearance by the Oakey/Marsh/Ware trio on British television, with the sole exception of BBC2's Mainstream programme in late 1979, organised and presented by the artist Brian Clarke , an early supporter of
8512-406: The band under the provision that Oakey would keep them safe. Sulley also reported that both her father and Catherall's went to the girls' school and convinced them that the experience of touring could be educational because of the travelling involved. In addition to Sulley and Catherall, Oakey employed professional musician Ian Burden from Sheffield synth band Graph as a session keyboard player for
8645-532: The band was nominated for the Best New Artist award at the 25th Annual Grammy Awards (though the award eventually went to Men at Work ). The follow-up single, " (Keep Feeling) Fascination ", was released in April 1983, and peaked at No. 2 in the UK. The following months proved to be difficult ones for the band as they struggled to record a follow-up album to Dare under immense pressure from Virgin. A six-song EP called Fascination! composed of
8778-607: The band's biggest hit, selling almost 1.5 million copies in the UK. Dare has since been labelled as one of pop music's most influential albums. In a retrospective review of the album, Stephen Thomas Erlewine , senior editor for AllMusic , gave Dare a five-star rating. He wrote: "The technology may have dated, synths and drum machines may have become more advanced, but few have manipulated technology in such an emotionally effective way." Philip Oakey often plays down claims of Dare being such an influential album, but at other times acknowledges its influence on modern music. Although
8911-506: The band's material (which would cost the band considerable loss of royalty income). The final result of the sessions was the Crash album. The album featured much material written by the Jam and Lewis team, and showcased their Yamaha DX7 -led sound. It had a US No. 1 single, " Human " (No. 8 in the UK), but other singles performed relatively poorly. The album, while making the Top 10 in
9044-580: The band's style for their first single, in order to make it more commercial. The label required the band to use conventional instruments and vocals as well as synthesizers. Because the League had accepted a large financial signing advance, Ware was in no position to refuse but insisted that any releases in this style be credited to a pseudonym. The band's first single under Virgin Records was the disco influenced " I Don't Depend on You ", released in July 1979 under
9177-422: The band, to be paid on a salary basis. In January 1981, although they had survived the tour, the band was still in trouble. Heavily in debt to Virgin Records, Oakey and Wright were under pressure to produce results quickly. By February 1981 the band recorded and rushed out " Boys and Girls ". Sulley and Catherall (who had returned to their sixth-form full-time) were not involved in the recording but were included on
9310-465: The band. Manager Bob Last tried to reconcile both parties, and when that proved impossible, various options were suggested, including two new bands under a Human League sub-label. Eventually, it was agreed that Oakey would continue with the Human League name, while Ware and Marsh would form a completely new band, which became Heaven 17 . Two weeks before the UK/Europe tour, the band split. Retaining
9443-480: The band. A performance in the studio, complete with slideshow, was broadcast of the tracks "The Path of Least Resistance" and the current minor hit " Empire State Human ". In May 1980, the band toured the UK. Philip Adrian Wright was now playing incidental keyboards in addition to his visuals role. The Human League featured a cover version of Judas Priest 's heavy metal anthem " Take on the World " on their 1980 tour.It
9576-465: The band. Oakey was working as a hospital porter at the time and was known on the Sheffield social scene for his eclectic style of dress. Although he had no musical experience, Ware thought he would be ideal as lead singer for The Future as "he already looked like a pop star". When Ware called on Oakey, he found he was out, so asked him to join the Future by leaving a note stuck to his front door. He accepted
9709-467: 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. 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 Adult and Fischerspooner . Between 2003 and 2004, it began to move into
9842-615: The best selling singles in the UK in 1981. In early 1982 synthesizers were so dominant that the Musicians' Union attempted to limit their use. By the end of 1982, these acts had been joined in the charts by synth-based singles from Thomas Dolby , Blancmange , and Tears for Fears . Bands such as Simple Minds also adopted synth-pop into their music on their 1982 album New Gold Dream (81–82–83–84) . ABC and Heaven 17 had commercial success mixing synth-pop with influences from funk and soul music . Dutch entertainer Taco , who has
9975-528: The boundaries of the genre, blending it with shoegaze and ambient music to create a complex, layered sound in their album Digital Shades Vol. 2 . The genre's adaptability and nostalgic appeal have contributed to its enduring presence and continued evolution in the music industry. 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
10108-465: The break-up. The band Heaven 17 included the trio of Martyn Ware , Ian Craig Marsh , and Gregory as lead singer. The band released eight studio albums , and had many hits in the UK. However, by the late 1980s their popularity had declined. The band broke up in 1988, but reunited in 1996, and played their first ever live concert in 1997. Marsh left the band in 2007, but Ware and Gregory continued to perform as Heaven 17. In 1984, Gregory contributed to
10241-476: The commercial charts. "This is a finger, this is another... now write a song" —This quote is a take on the punk manifesto This is a chord, this is another, this is a third...now start a band celebrating the virtues of amateur musicianship first appeared in a fanzine in December 1976. British punk-influenced band Tubeway Army , intended their debut album to be guitar driven. In late 1978, Gary Numan ,
10374-566: The early " dominatrix " image of the Eurythmics' Annie Lennox . In the U.S. this led to British synth-pop artists being characterised as "English haircut bands" or "art fag " music, though many British synth-pop artists were highly popular on both American radio and MTV . 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. By
10507-487: The end of the 1980s, since which time the band has essentially been a trio of Oakey, Catherall and Sulley with various sidemen. Since 1978, the Human League have released 9 studio albums, a remix album, a live album, 6 EPs , 29 singles and 13 compilation albums . They have had 6 top 20 albums and 13 top 20 singles in the UK and had sold more than 20 million records worldwide by 2010. As an early techno-pop act that received extensive MTV airplay, they are regarded as one of
10640-502: The first band of the movement to have a hit single as the synth-driven " To Cut a Long Story Short " reached number 5 on the UK Singles Chart in December 1980. Visage's " Fade to Grey ", 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
10773-706: The first hit by a British act to enter the Billboard top ten as a result of exposure through video. The switch to a " new music " 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 Billboard Hot 100 six months later, Rolling Stone called Eurythmics' single " Sweet Dreams (Are Made of This) " "a synth-pop masterpiece". Bananarama 's 1983 synth-pop song " Cruel Summer " became an instant UK hit before having similar success in
10906-559: The following two singles failed to make the UK Top 40. However, the success of the original Oakey and Moroder track encouraged Virgin to release one final single from Hysteria in November 1984; the ballad " Louise " was released and reached No. 13 in the UK. After Hysteria, the group found themselves in creative stagnation, struggling to record material to follow up on their previous successes. Key songwriter Jo Callis departed, replaced by drummer Jim Russell. Bob Last quit as manager and
11039-431: 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 monophonic synthesizers (only able to play one note at a time). Many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce
11172-444: The genre. Glenn Gregory Glenn Peter Gregory (born 16 May 1958) is a British singer, songwriter and multi-instrumentalist whose music career spans more than 40 years. He came to prominence in the early 1980s as co-founder and lead singer of the new wave and synth-pop band Heaven 17 , which released several UK chart hits in the 1980s and 1990s, including “ Temptation ”, “ Let Me Go ”, “ Come Live with Me ”, “ Crushed by
11305-432: The girls were only teenagers and also best friends, he invited them both so they could look after each other on the tour for safety. He has also said that he thought having two women as vocalists and dancers would also add glamour to the band. Because of the girls' ages, Oakey and Wright later had to visit Sulley and Catherall's respective parents to obtain permission for the girls to go on the tour. Their parents let them join
11438-465: The group has been retrospectively identified with the New Romantic movement of this period, according to Dave Rimmer, author of New Romantics: The Look , "at the time [they] were no such thing." The band themselves have also consistently and strenuously rejected the label. The Sheffield scene in which the Human League formed predated New Romanticism and took more influence from Kraftwerk . Bands in
11571-552: The hope of finding a female singer to join the band. They eventually came to the Crazy Daisy Nightclub on High Street, where Oakey spotted two girls dancing together on the dance floor, Susan Ann Sulley and Joanne Catherall. They were both 17-year-old students on a night out and neither had any experience singing or dancing professionally. With no preamble, Oakey asked both girls to join the tour as dancers and incidental vocalists. Oakey has stated that upon discovering
11704-439: The increasing popularity of domestic home video cassette recorders (VCRs), called The Human League Video Single . Although "video albums" had been released by bands such as Blondie and ELO as early as 1979, this release was a short (12 mins) video tape cassette in either VHS or Betamax format containing just three tracks (the music videos for "Mirror Man", "Love Action (I Believe in Love)", and "Don't You Want Me"). Although it
11837-469: The invitation, but early sessions were awkward. Oakey had never sung in front of an audience before, could not play keyboards and only owned a saxophone (which he could barely play). Listening to one of Ware and Marsh's demos, Oakey was inspired to write some lyrics which later became the single " Being Boiled ". With a new line-up, sound, and vocalist, Ware decided that the band needed a new name. It would also allow them to approach record companies again from
11970-436: The leading artists of the 1980s Second British Invasion of the US. Before adopting the name the Human League, the band briefly had two previous incarnations. In early 1977, Martyn Ware and Ian Craig Marsh , who had met at youth arts project Meatwhistle , were both working as computer operators. Their musical collaboration combined pop music (such as glam rock and Tamla Motown ) with avant-garde electronic music . With
12103-406: The lyrics of " What Is Love? " – "Does anybody love anybody anyway?") and Nik Kershaw , 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 Bronski Beat whose album The Age of Consent (1984), dealing with issues of homophobia and alienation, reached the top 20 in
12236-538: The mainstream with Ladytron , the Postal Service , Cut Copy , the Bravery and the Killers all producing records that incorporated vintage synthesizer sounds and styles that contrasted with the dominant genres 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 . The Killers,
12369-781: 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, which is recognised as a forerunner to synth-pop and disco . The mid-1970s saw the rise of electronic art musicians such as Jean Michel Jarre , Vangelis , and Tomita . Tomita's album Electric Samurai: Switched on Rock (1972) featured electronic renditions of contemporary rock and pop songs, while utilizing speech synthesis and analog music sequencers . In 1975, Kraftwerk played their first British show and inspired concert attendees Andy McCluskey and Paul Humphreys – who would later found Orchestral Manoeuvres in
12502-476: The material recorded so far and started over again with new producers Hugh Padgham and Chris Thomas (though some of Rushent's contributions to certain tracks from the earlier sessions were included on the released album). Finally in May 1984, the band released the single " The Lebanon " about the Lebanese Civil War . The single peaked at No. 11 in the UK. This was followed shortly thereafter by
12635-556: The media as "the Lennon–McCartney of synth-pop". Giorgio Moroder collaborated with the band Sparks on their album No. 1 In Heaven (1979). That same year in Japan, the synth-pop band P-Model made its debut with the album In a Model Room . Other Japanese synth-pop groups emerging around the same time included the Plastics and Hikashu . This zeitgeist of revolution in electronic music performance and recording/production
12768-609: 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 Bruce Springsteen , ZZ Top and Van Halen . 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 , rap music , and jazz . American musicians such as Juan Atkins , using names including Model 500, Infinity and as part of Cybotron , developed
12901-533: 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 Boy George and Adam Ant ". The New Romantic scene had developed in the London nightclubs Billy's and the Blitz and was associated with bands such as Duran Duran, Visage , and Spandau Ballet . They adopted an elaborate visual style that combined elements of glam rock , science fiction and romanticism . Spandau Ballet were
13034-450: The music press as a "teeny bop sensation" were Norwegian band a-ha , 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 " Take On Me " to number two in the UK and number one in the US. 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 Pet Shop Boys , Erasure and
13167-461: 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 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 anomie , and feelings of being emotionally cold and hollow. In its second phase in
13300-436: The pair often quarrelled over creative and personal matters. Their lack of success compared with the success of Gary Numan at that time had brought matters to a head. Ware insisted the band maintain their pure electronic sound, while Oakey wanted to emulate the more conventional sound of more successful pop groups. The two clashed continually and Ware eventually walked out in 1980. Taking Ware's side, Marsh joined him in quitting
13433-513: The period 1976–77 was initially hostile to the "inauthentic" sound of the synthesizer, but many new wave and post-punk 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 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. The American duo Suicide , who arose from
13566-473: The post-punk scene in New York, utilised drum machines and synthesizers in a hybrid between electronics and post-punk on their eponymous 1977 album . Around this time, Ultravox member Warren Cann purchased a Roland TR-77 drum machine , which was first featured in their October 1977 single release " Hiroshima Mon Amour ". Be-Bop Deluxe released Drastic Plastic in February 1978, leading off with
13699-424: The price of electronic components dropping in the mid-1970s, equipment became more affordable for the average consumer; Ware and Marsh purchased a Korg 700S synthesizer together and learned how to play it. Their musical reputation spread, and they were invited to play at a friend's 21st birthday party. For the party, Ware and Marsh formed themselves into an informal band called The Dead Daughters. Their live highlight
13832-492: The pseudonym " The Men ". The single did not chart and had very little in common with the previous work of the Human League. It did, however, feature female vocals by guests Lisa (Liza) Strike and Katie Kissoon, sounding like the yet-to-be-formed future Human League of 1981. Because the imposed style had not worked, Virgin permitted the band to return to their original style and the band recorded and released their first full studio album Reproduction in August 1979. The album and
13965-527: The release of UK band the Human League 's debut single " Being Boiled " and The Normal 's " Warm Leatherette ", which both are regarded as seminal works in early synth-pop. Sheffield band Cabaret Voltaire are also regarded as pioneers of the late 1970s that influenced the emerging synth-pop in Britain. In America, post-punk band Devo began moving towards a more electronic sound. At this point synth-pop gained some critical attention, but made little impact on
14098-725: The same period include Calvin Harris , Empire of the Sun , Frankmusik , Hurts , Ou Est Le Swimming Pool , Kaskade , LMFAO , and Owl City , whose single " Fireflies " (2009) topped the Billboard Hot 100 chart. In 2009, an underground subgenre with direct stylistic origins to synth-pop became popular, chillwave . Other 2010s synth-pop acts include the Naked and Famous , Chvrches , M83 , and Shiny Toy Guns . American singer Kesha has also been described as an electropop artist, with her electropop debut single " Tik Tok " topping
14231-652: The shape of the huge hit single " Together in Electric Dreams ", a collaboration with one of his idols, synth pioneer Giorgio Moroder . The track was taken from the film soundtrack to Electric Dreams and became a massive hit. Often now erroneously credited as a Human League single, due to its success and enduring popularity, the band have since adopted it for their live performances and it appears on their greatest hits compilations. Oakey and Moroder then recorded an album together for Virgin, Philip Oakey & Giorgio Moroder , but this met with rather less success and
14364-404: The single " Empire State Human " failed to make an impact on the charts. After these flops, Virgin cancelled the band's December 1979 tour. By this time, the Human League's role as UK electronic pioneers was usurped by Gary Numan , when his single " Are 'Friends' Electric? " became a huge hit in the UK in mid-1979. In March 1980, the band—which had not yet hit the singles charts—was namechecked in
14497-464: The single "Electrical Language" with Bill Nelson on guitar synthesizer and Andy Clark on synthesizers. Japanese band Yellow Magic Orchestra (YMO) with their self-titled album (1978) and Solid State Survivor (1979), developed a "fun-loving and breezy" sound, with a strong emphasis on melody . They introduced the TR-808 rhythm machine to popular music , and the band would be a major influence on early British synth-pop acts. 1978 also saw
14630-421: The single most significant event in melodic music since Mersey-beat ". By the 1980s synthesizers had become much cheaper and easier to use. After the definition of MIDI in 1982 and the development of digital audio , 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
14763-445: The single went to No. 1 for five weeks over the 1981 Christmas period. In a 1995 interview with music journalist James Richliano, Oakey credited MTV for helping the song reach the top of the charts: "I don't think we would have had a number one if it weren't for the video and MTV. Trying to interpret songs with video is a real problem, but at the same time, we know that we wouldn't be here without video." "Don't You Want Me" became
14896-407: The single's front cover. The single reached No. 47 in the UK charts, the band's highest chart position to that point. Oakey acknowledged that he needed to bring in professional musicians, and so Ian Burden was tracked down and invited to join the band as a trial member. Virgin's faith had been restored by "Boys and Girls", but they believed the band lacked professional production. In March, Oakey
15029-470: The singles "Mirror Man" and "Fascination" together with the new track "I Love You Too Much" was released from the original recording sessions for their new album, later to be named Hysteria . The EP was released in America as a stop-gap and also became a strong seller as an import in the UK. In August 1983, the band released "the UK's first videotape single " to capitalise on the growing market created by
15162-656: The singles chart. Because of their lack of commercial success, Virgin refused to release further singles from Travelogue. The Human League was booked to conduct a tour of the UK and Europe from October to November 1980, but the lack of success after two years of hard work and perceived lack of faith by Virgin set about severe internal conflict within the band. Equipment used in this period were: Roland Jupiter 4, Korg 770, Roland System 100 consisting of 1 × 101 keyboard, 2 × 102 expanders, 2 × 104 sequencers and 103 mixer, plus taped backing for rhythm and drum parts. The relationship between Oakey and Ware had always been turbulent, and
15295-466: The songs. Synth-pop music has established a place for the synthesizer as a major element of pop and rock music , directly influencing subsequent genres (including house music and Detroit techno ) and has indirectly influenced many other genres, as well as individual recordings. Synth-pop is defined by its primary use of synthesizers, drum machines and sequencers , sometimes using them to replace all other instruments. Borthwick and Moy have described
15428-464: The time was the John Foxx -led new wave band Ultravox who released the album Systems of Romance in 1978. Foxx left Ultravox the following year and scored a synth-pop hit with the single " Underpass " from his first solo album Metamatic in early 1980. In 1979, OMD released their debut single " Electricity ", which has been viewed as integral to the rise of synth-pop. This was followed by
15561-603: The tour to cover for the keyboards of the now departed Ware and Marsh. The tour was completed as advertised with the first date at Doncaster Top Rank. However, the music press was scornful of "Oakey and his dancing girls" and treated the new band line-up with derision. On completion of the tour, Burden went on to his next commitment playing bass guitar in West Berlin . Because of the professionalism they had shown and because he planned to use them further vocally, Oakey and manager Bob Last made Sulley and Catherall full members of
15694-402: Was "ignorance" regarding synth-pop, such as his belief that people "thought machines did it". OMD frontman Andy McCluskey 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 – but there isn't . It
15827-470: Was a rendition of the theme of the British TV series Doctor Who . After a few more low-key, private performances, Ware and Marsh decided to officially form a band. Joined by their friend Adi Newton and another synthesizer (a Roland System-100 ), they formed The Future and began to create music in their own rehearsal facility in a disused cutlery workshop in the centre of Sheffield. Although The Future
15960-558: Was all written by real human beings". 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 gender bending , including Phil Oakey 's asymmetric hair and use of eyeliner, Marc Almond 's "pervy" leather jacket, skirt wearing by figures including Martin Gore of Depeche Mode and
16093-520: Was encapsulated by then would-be record producer Trevor Horn of the Buggles in the single " Video Killed the Radio Star "; 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. Geoff Downes , keyboardist for the Buggles, states, "When we did a rerecorded version for Top of the Pops , the Musicians’ Union bloke said, "If I think you’re making strings sounds out of
16226-466: Was highly praised by some critics and musicians (including Patti Smith and Lester Bangs ), 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 funhouse ambience" and an early example of synth-pop. Early guitar-based punk rock that came to prominence in
16359-642: Was introduced to veteran producer Martin Rushent . Rushent's first move was to dispatch the entire band to his Genetic Studios in Reading, Berkshire , away from the "unhealthy atmosphere" of Monumental Studios, Sheffield, that they shared with Ware and Marsh's Heaven 17. The first result of the Genetic sessions was the single " The Sound of the Crowd ". The single became their first Top 40 hit, reaching No. 12 in
16492-433: Was invited to become the band's Director of Visuals, with a remit to "liven up" the stage performance with slides, film clips and lighting. In August 1978 the band recorded a session for John Peel , including a re-worked version of "Being Boiled." The band's live performances began to gain momentum and acclaim, and they were asked to support first The Rezillos (featuring future band member Jo Callis ), then Siouxsie and
16625-424: Was never signed and did not release material commercially at the time, a collection of demos from this period was released retrospectively on CD in 2002 titled The Golden Hour of the Future , mixed by Richard X . The association with Adi Newton was short; Newton left The Future and went on to form Clock DVA . Ware at this point decided that he needed a singer rather than another keyboard player. The reason for this
16758-407: Was not a commercial success (as it retailed for £10.99, compared to 12" vinyl singles averaging £1.99 in 1983), the format caught on and other artists began releasing video singles/EPs of their own. The band spent many months agonising as they tried to make a successor to Dare, and as things became ever more stressful, producer Martin Rushent left the project. At this point, the band ditched much of
16891-593: Was not replaced. In 1985, the band spent several months working on a new album with producer Colin Thurston (who had produced "I Don't Depend on You", Reproduction , and the first two Duran Duran albums), but yet more clashes in the recording studio ensued and the project was shelved in September 1985. Worried by the lack of progress with their most profitable act, Virgin paired the Human League up with American R&B producers Jimmy Jam and Terry Lewis , who had
17024-484: Was released in the US by A&M Records and "Don't You Want Me" also reached No. 1 there in the summer of 1982. A remix album of Dare entitled Love and Dancing was released under the group name " The League Unlimited Orchestra " (a tribute to Barry White 's Love Unlimited Orchestra ), reaching No. 3 on the UK album chart. In 1982, the band received the Best British Newcomer award at
17157-457: Was taken up across the world alongside the continuing presence of disco , with international hits for German synth-pop as well as Eurodisco acts including Peter Schilling , Sandra , Modern Talking , Propaganda , and Alphaville . Other non-British groups scoring synth-pop hits were Men Without Hats and Trans-X from Canada, Telex from Belgium, Yello from Switzerland, and Azul y Negro from Spain. The synth-pop scene of Yugoslavia spawned
17290-413: Was the last time all four members performed together live. Also in May, the band released their second studio album Travelogue . More commercial-sounding than Reproduction, it peaked at No. 16 in the UK, giving the band their first real success. As a result, "Empire State Human" was re-released and the band made their second appearance on Top of the Pops , even though it only reached No. 62 in
17423-413: Was titled Techno Pop ; English band the Buggles has a song named "Technopop" and Spanish band Mecano described their style as tecno-pop. "Synth-pop" is sometimes used interchangeably with " electropop ", 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 Erasure and Pet Shop Boys adopted
17556-527: Was twofold: record companies had been reluctant to sign The Future, as they could not offer any "marketable" songs, and therefore a talented singer was required for any chance of commercial success; also the group only owned two synthesizers and could not afford a third. Ware and Marsh searched for a vocalist, but their first choice, Glenn Gregory , was unavailable (Gregory eventually became the lead singer of their subsequent band Heaven 17 ). Ware then decided to invite an old school friend, Philip Oakey , to join
17689-438: Was widely adopted by progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes . Instrumental prog rock was particularly significant in continental Europe, allowing bands like Kraftwerk , Tangerine Dream , Can and Faust to circumvent the language barrier. Their synthesizer-heavy " Kraut rock ", along with the work of Brian Eno (for a time the keyboard player with Roxy Music ), would be
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