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New Wave music

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New Wave was a music genre that existed during the late 1970s and the early-to-mid 1980s. It emerged from punk rock as a reaction against the popular music of the 1970s and incorporated various influences such as the rock 'n roll styles of the pre-hippie era, ska, reggae, power pop, the mod subculture, electronic music, funk etc.

Overview

The term New Wave itself is a source of much confusion. Originally, 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". He felt that the music was the musical equivalent of the French New Wave film movement of the 1960s. Like those film makers, his new artists (most notably Talking Heads) were anti-corporate, experimental, and from a generation that had grown up as critical consumers of the art they now practiced. Thus, the term "new wave" was initially interchangeable with "punk".

Soon, however, listeners themselves began to differentiate 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:

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 features US artists including the Dead Boys, the 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 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."

Definition of New Wave in the United States

New Wave in the United States is a popular catchall term used to describe music that emerged in the late 1970’s 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 1970’s such as Elvis Costello, The Police, Gary Numan, and Squeeze dovetails with the original definition of the genre. Starting in the early 1980’s and continuing until around 1988 the term New Wave was used in America to describe nearly every new pop/rock artist especially those that 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, Adam and the Ants, Human League, Naked Eyes and Culture Club. The term continues to be used today to describe those groups.

New Wave in Latin America

New Wave also found an important place in south american charts, not only british and american bands, Latin american new wave bands weren't important numerically but they lead the pop music in spanish during 80s. Argentina had the most important new wave movement, leaded by Virus (Argentine band) and enjoyed important success in hispanic countries. Soda Stereo were also firstly considered New Wave (because of Virus' influence), but they turned in a darker, more alternative kind of music.

New Wave revivals

In the early 1990s, the British music weekly NME grouped together a number of guitar-based bands under the unwieldy banner New Wave of New Wave. These groups, including S*M*A*S*H, These Animal Men, Elastica and Echobelly, drew on the aesthetics of 1970s New Wave, including spiky guitars, tight-fitting suits and skinny ties.

In the late 1990s, the Omaha, Nebraska-based band The Faint drew heavily upon New Wave to create its debut album Media, released on Saddle Creek Records in 1998. In the first decade of the 21st century, the electroclash scene in Brooklyn and London (at clubs like Nag Nag Nag and Beyond Club) revived the synth-pop aesthetic for kids born in the 1980s. Many other indie rock bands re-popularized New Wave sounds as part of the post-punk revival movement with varying success, most popularly the Kaiser Chiefs, Franz Ferdinand, The Killers, The Bravery and New Orleans' Mute Math. Other bands who have brought back New Wave music in the new decade have been the Epoxies, theSTART, The Sounds, and Vernian process as well as the re-union of Squeeze.

New Wave fashion

New Wave fashions were a conscious reaction to the hippie styles of the 1960s, which had spilled over into the mainstream by the late 1970s. Thus, flares and long hair for men were replaced by more body-conscious clothing and shorter, often spiky, hairstyles. The tight-fitting suits and thin ties worn by Blondie on the cover of their album Parallel Lines epitomise the New Wave look, which harks back to the rock and roll styles of the pre-hippie era.

Another aspect was a desire to embrace contemporary synthetic materials as a protest and celebration of plastic. This involved the use of spandex, bright colors (such as fluorescents), and mass-produced, tawdry jewelry and ornaments, typified by the dayglo aesthetic of the band X-Ray Spex. As a fashion movement, then, New Wave was both a post-modern belief in creative pastiche and a continuation of Pop Art’s satire and fascination with manufacturing. An important offshoot of new wave fashion was the New Romantic movement, which emphasized androgyny and extensive use of synthetic-looking cosmetics for both genders.

New Wave revivalists are currently very popular in New York, Boston and LA (centering around nightclubs like New York’s Misshapes, Boston's Manray nightclub, Seattle's Buddha Bar in Belltown and featured in art and fashion magazines like Visionaire). The style has also recently been a major influence in high fashion, for example in the most recent collections of designers like Scott Gerst and Hedi Slimane (ex-creative director of Dior Homme.)

References

Media

New Wave styles

Parallel movements

Regional scenes

See also

External links



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