These iconic records came out in 1995
Formed in Düsseldorf in 1970, Kraftwerk—of which the lineup of Ralf Hütter, Florian Schneider, Karl Bartos, and Wolfgang Flur is regarded as the most iconic—are acknowledged as the forerunners of the synth-pop sound, though they described their work as "robot pop." Albums such as 'Autobahn' (1974), 'Trans-Europe Express' (1977), 'The Man-Machine' (1978), and 'Computer World' (1981) are classics of electronica.
American engineer and physicist Robert Moog (1934–2005) is generally credited with inventing the synthesizer in the 1960s and, by extension, pioneering electronic music.
Put simply, a synthesizer is an electronic musical instrument that uses some form of digital or analog processing to produce and modify audible sound.
An early exponent of synth-pop was Brian Eno. Described as one of popular music's most influential and innovative figures, Eno co-founded English rock band Roxy Music in 1971. Responsible for keyboard duties, his instrument of choice was the VCS 3 synthesizer.
On May 4, 1979, English band Tubeway Army released 'Are "Friends" Electric?' Fronted by vocalist Gary Numan, Tubeway Army were formed in 1977 at the height of punk rock, but soon erred towards an electronic sound. 'Are "Friends" Electric?' makes prominent use of Minimoog and Polymoog synthesizers. Suddenly, guitars were no longer center stage.
New Order arose from the ashes of Joy Division and in 1983 released 'Blue Monday.' This synth-pop dance track remains one of the greatest and most influential compositions of the genre. The 12-inch version is the biggest-selling 12-inch single of all time.
Another band responsible for shaping the synth-pop sound is Yellow Magic Orchestra. Formed in Tokyo in 1978, the Japanese trio of Haruomi Hosono (bass, keyboards, and vocals), Yukihiro Takahashi (drums and lead vocals) and Ryuichi Sakamoto (keyboards and vocals) cite the music of Isao Tomita and Kraftwerk as major influences.
A pioneering act in electronica, German trio Tangerine Dream rose to fame in the early 1970s with 'Atem,' released in 1973. The band's innovative use of the Moog synthesizer, Mellotron, and sequencers, resonated in the ears of another German electronic music outfit, Kraftwerk.
Back across the Atlantic, American musician and composer Wendy Carlos, who'd assisted with the development of the Moog synthesizer and had recorded 'Switched-On Bach' in 1968, an album of music by Johann Sebastian Bach performed on the instrument, further popularized the synth sound by composing the soundtrack to 'A Clockwork Orange' (1971) and, a decade later, the music for another Stanley Kubrick film, 1980's 'The Shining.' She also scored the music for 'Tron' (1982).
Like Wendy Carlos before him, Greek musician Vangelis (1943–2022) achieved global fame for his work in cinema, composing the synth-led soundtracks 'Chariots of Fire' (1981) and 'Blade Runner' (1982).
Meanwhile in Japan, Isao Tomita (1932–2016) garnered worldwide fame as a producer of analog synthesizer arrangements. His interpretation of classical pieces, exemplified on albums such as 'Snowflakes Are Dancing' (1974), based on the music of Claude Debussy, and 1975's 'Pictures at an Exhibition,' inspired by Russian composer Mussorgsky, tested the sound design of the instrument to its creative limits.
'Oxygène'(1976) and 'Équinoxe' (1979) heralded mainstream success for French composer and performer Jean-Michel Jarre, a pioneer in the electronic, ambient, and new-age genres. But 1979 was the year in which the synth-pop sound was truly defined. And surprisingly, its roots lay in British punk rock.
Italian musician and songwriter Giorgio Moroder is known as the "Father of Disco" for his work with Donna Summer in the mid-1970s. But it's his synth-driven 1977 album 'From Here to Eternity' that drew noticeable critical acclaim, with many lauding Moroder as way ahead of his time for his futuristic soundscape.
English electronic band Orchestral Manoeuvres in the Dark (OMD) made their debut in 1979 with 'Electricity.' As OMD, the musical duo of Andy McCluskey and Paul Humphreys enjoyed enormous success in Europe and later cracked the US market with subsequent tracks like 1980's 'Enola Gay' and 'Maid of Orleans' (1982).
English synth-pop duo Soft Cell reached the top of the UK charts in 1981 with their version of 'Tainted Love.' More success followed with 'Torch,' 'Say Hello, Wave Goodbye,' 'What,' and 'Bedsitter.' The pair—Marc Almond and David Ball—further molded the synth-oriented techno genre.
Formed in 1978, Japan embraced an androgynous look throughout their career, a fashion many synth-pop bands adopted. The band split in 1982, having enjoyed success with tracks like 'Life in Tokyo,' a 1979 collaboration with Giorgio Moroder, and 'Ghosts' (1982).
Formed during the punk rock and new wave era, Ultravox also drew inspiration from glam rock. Brian Eno was an early collaborator. When Scottish musician and singer-songwriter joined the lineup in 1979, Ultravox effectively found their musical direction with hits like 'Vienna' (1980) and 'All Stood Still' (1981).
One of the most successful synth-pop bands ever is Depeche Mode. Formed in 1980 by the lineup of Andrew Fletcher, Dave Gahan, Martin Gore, and Vince Clarke, Depeche Mode hit the scene with the catchy 'Just Can't Get Enough.' The band's instruments include Roland, Moog, and Yamaha synthesizers.
A name unfamiliar to most, Thomas Dolby has nonetheless earned his place in the synth-pop hall of fame by virtue of his hit singles 'She Blinded Me with Science' (1982) and 'Hyperactive!' (1984). In the 1990s, Dolby co-designed the software found in early internet audio and, later, mobile phone ringtones.
Sources: (Perfect Circuit) (Blisspop) (The Guardian)
See also: Where does our taste in music come from?
By the early 1980s, synth-pop was dominating the British music scene. In the US, the musical style was considered a subgenre of new wave, but became popular due to MTV and the channel's heavy promotion of New Romantic synth-pop acts, especially Duran Duran (pictured).
Formed in the wake of Tangerine Dream and Kraftwerk, German synth-pop band Alphaville achieved moderate success with hits like 1984's 'Big in Japan.' In 2009, Jay-Z reworked Alphaville's 'Forever Young,' releasing it as 'Young Forever.'
Synonymous with the British synth-pop scene is Sheffield band The Human League. Initially an experimental electronic outfit, the band enjoyed huge mainstream success with their third album 'Dare' in 1981. They reached the top of the UK and US charts with 'Don't You Want Me,' taken from the album.
Tears for Fears rode on the back of the new wave synthesizer movement of the early 1980s to achieve international success with tracks like 'Mad World' (1982), 'Shout' (1984), and 1985's 'Everybody Wants to Rule the World.' A new audience was introduced to the band when a revamped version of 'Mad World,' stripped of its synthesizers, was used in the movie 'Donnie Darko' in 2001.
Former Depeche Mode keyboardist Vince Clarke teamed up with vocalist Alison Moyet in 1981 to form Yazoo. The duo enjoyed success with 'Only You' and 'Don't Go,' both released in 1982. Clarke went on to form Erasure, another successful and longer-lasting synth-pop duo.
Visage front man Steve Strange (1959–2015) was known for his sharp, androgynous fashion sense and 'Fade to Grey,' a hit for the band in 1980. Strange (left) is pictured with collaborator Rusty Egan.
Vince Clarke teamed up with vocalist Andy Bell to form Erasure in 1985. The synth-pop duo are still going strong and are quite popular within the LGBTQ community, with the openly gay Bell considered a national icon.
Few 1980's synth-pop bands achieved as much global fame as the duo of Annie Lennox and Dave Stewart. They released a string of memorable hits before splitting up in 1990, with Lennox going on to enjoy an equally successful solo career, while Stewart further cemented his reputation as an in-demand record producer.
Listed by Guinness World Records as the most successful duo in UK music history, the Pet Shop Boys—vocalist Neil Tennant and keyboardist Chris Lowe—took their synth-soaked single 'West End Girls' to the top of the charts on both sides of the Atlantic in 1985-86. The lush strings that run throughout the song were created using a blend of string sounds from an E-mu Emulator I and an Emulator II.
Norwegian threesome A-ha had their biggest hit in 1984 with 'Take on Me.' The recording combines synth-pop with a varied instrumentation, including acoustic guitars, keyboards, and drums. The song's introduction is one of the most recognized of all synth riffs.
The classic Thompson Twins lineup comprised of Tom Bailey, Alannah Curry, and Joe Leeway produced a clutch of memorable synth-led singles, including 1983's 'Love On Your Side' and 'Hold Me Now,' and 'Doctor! Doctor!,' in 1984.
Don Buchla (1937–2016), working independently of Moog, is also acknowledged for his development of the voltage controlled modular synthesizer. This new type of electronic musical instrument quickly rose to prominence, and by the early 1970s the synthesizer was on the cusp of heralding a whole new music subculture: synth-pop.
As modern and as innovative as it may sound, the synthesizer was in fact developed as a musical instrument as far back as 1964. It came to prominence in the mid-1970s, used by groundbreaking bands such as Kraftwerk and Yellow Magic Orchestra. But it was in the advent of the 1980s that the synth-pop sound was born, played as a dominant instrument by the likes of Depeche Mode, Eurythmics, and Duran Duran. The synthesizer diminished in popularity in the 1990s and 2000s, but has since enjoyed a revival of sorts, with many of today's acts demonstrating a renewed interest in electronic music and nostalgia for the late 1970s and 1980s.
So, who should we thank for inventing the synth-pop sound? Click through and tune in.
The surreal sound of synth-pop
Who should we thank for music led by the synthesizer?
MUSIC Genres
As modern and as innovative as it may sound, the synthesizer was in fact developed as a musical instrument as far back as 1964. It came to prominence in the mid-1970s, used by groundbreaking bands such as Kraftwerk and Yellow Magic Orchestra. But it was in the advent of the 1980s that the synth-pop sound was born, played as a dominant instrument by the likes of Depeche Mode, Eurythmics, and Duran Duran. The synthesizer diminished in popularity in the 1990s and 2000s, but has since enjoyed a revival of sorts, with many of today's acts demonstrating a renewed interest in electronic music and nostalgia for the late 1970s and 1980s.
So, who should we thank for inventing the synth-pop sound? Click through and tune in.