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Chapter 7 - Synth pop

Published online by Cambridge University Press:  05 May 2013

Nick Collins
Affiliation:
University of Durham
Margaret Schedel
Affiliation:
Stony Brook University, State University of New York
Scott Wilson
Affiliation:
University of Birmingham
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Summary

At the Eurovision Song Contest in 1980, the synthesizer trio Telex performed Belgium's entry. They appeared, swaying, in dapper scarves, in front of a large unplugged modular synthesizer, and sang a deliberately inane tune, appropriately entitled “Euro-vision.” Typical of the humor of the band, they were aiming for last place and zero points, but were in turn ironically scuppered by Portugal's award of ten points and were dragged into third from last.

Kraftwerk, the rather more famous German synthesizer band, who pioneered the all-synthesizer ensemble as a force in popular music, also had an underlying sense of humor and humanity. Their albums may seem to be continuing the progressive rock tradition of concept albums, taking on such technological themes as Autobahn (1974), Radio-Activity (1975), Trans-Europe Express (1977), The Man-Machine (1978), and Computer World (1981), though they are really tightly prepared and marketed packages. Although some longer tracks appear well beyond the duration of a three-minute pop song, the extended improvisation of the German experimental music scene that Kraftwerk grew out of is left far behind in their more well-known work. Their longer tracks promote a mold of extended dance workouts and minimalist tapestries in pop. Exploring a powerful array of analog and later digital equipment, however rigid the sequencing, they emphasized the human being amongst the technology. Their design harks back to earlier eras, such as the clear link to the film Metropolis (1927) in die-Mensch Maschine, or the doubly meant radio and atomic age of the punning title Radio-Activity.

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Electronic Music , pp. 90 - 101
Publisher: Cambridge University Press
Print publication year: 2013

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References

Albiez, Sean and Pattie, David (eds.) (2011) Kraftwerk: Music Non-Stop (New York: Continuum).Google Scholar
Bussy, Pascal (2005) Kraftwerk: Man, Machine and Music, 3rd edn. (London: SAF Publishing Ltd.).Google Scholar
Flür, Wolfgang (2003) I Was a Robot, 2nd edn. (London: Sanctuary Publishing Ltd.).Google Scholar
Malins, Steve (2006) Depeche Mode: Black Celebration, 3rd edn. (London: Andre Deutsch).Google Scholar
Miller, Jonathan (2003) Stripped: Depeche Mode (London: Omnibus Press).Google Scholar
Reynolds, Simon (2005) Rip It Up and Start Again (London: Faber & Faber).Google Scholar
Rideout, Ernie, Fortner, Stephen, and Gallant, Michael (eds.) (2008) Keyboard Presents the Best of the 80s: The Artists, Instruments and Techniques of an Era (New York: Backbeat Books).Google Scholar

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  • Synth pop
  • Nick Collins, University of Durham, Margaret Schedel, Stony Brook University, State University of New York, Scott Wilson, University of Birmingham
  • Book: Electronic Music
  • Online publication: 05 May 2013
  • Chapter DOI: https://doi.org/10.1017/CBO9780511820540.007
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  • Synth pop
  • Nick Collins, University of Durham, Margaret Schedel, Stony Brook University, State University of New York, Scott Wilson, University of Birmingham
  • Book: Electronic Music
  • Online publication: 05 May 2013
  • Chapter DOI: https://doi.org/10.1017/CBO9780511820540.007
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Synth pop
  • Nick Collins, University of Durham, Margaret Schedel, Stony Brook University, State University of New York, Scott Wilson, University of Birmingham
  • Book: Electronic Music
  • Online publication: 05 May 2013
  • Chapter DOI: https://doi.org/10.1017/CBO9780511820540.007
Available formats
×