New wave music

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New wave is a music genre that encompasses pop-oriented styles that emerged in the mid- to late 1970s as a lighter and more melodic "broadening of punk culture". The term new wave initially held distinct regional differences between the United States and United Kingdom. In the US, "new wave" had originally been used by music critics to label New York punk bands during the early-to mid 1970s. The term was later adopted by Sire Records founder Seymour Stein, who launched the "Don't Call It Punk" campaign in October 1977 to replace "punk" with "new wave". In the UK, new wave was a catch-all for several musical styles that emerged after the initial popularity of punk rock, such as synth-pop, alternative dance and post-punk.

New wave commercially peaked during the late 1970s into the early 1980s with an abundance of one-hit wonders. In 1981, the MTV channel was launched, which heavily promoted and popularized new-wave acts in the United States. While regional new wave scenes developed across Europe, particularly the Netherlands' ultra, Germany's Neue Deutsche Welle, Spain's La Movida Madrileña, France, Poland and Belgium's coldwave, as well as the Yugoslav new wave. Additionally, the movement inspired subgenres such as minimal wave and darkwave.

By the mid- to late 1980s, new wave was overtaken in the UK by the new pop and New Romantic movement, alongside the Second British Invasion in the US, where the style later declined in popularity as other music genres gained commercial success. In the 1990s and 2000s, new wave experienced a brief revival, labelled the "new wave of new wave" or "new new wave" by the press. The genre influenced later internet microgenres such as zolo, bloghouse, new rave, chillwave, synthwave, vaporwave and devocore.

Etymology and characteristics

During the late 1970s and early 1980s, new wave music encompassed a wide variety of pop-oriented styles that shared a quirky, lighthearted, and humorous tone.<ref name="ste" /><ref name="britann" /> Though the term was originally coined by Seymour Stein of Sire Records<ref name=":0">Template:Cite web</ref><ref name=":1">Template:Cite web</ref> as a catch-all for the various styles of music that emerged after punk rock. The phrase also alluded to the French New Wave, a 1960s film movement known for its experimental approach and departure from traditional forms.<ref name="britann" /><ref>Template:Cite book</ref>

Common characteristics of new wave music include a humorous or quirky pop approach, the use of electronic sounds, and a distinctive visual style in music videos and fashion.<ref name="allmusic.com">Template:Cite web</ref> According to Simon Reynolds, new wave music had a twitchy, agitated feel. New wave musicians often played choppy rhythm guitars with angular riffs and fast tempos; keyboards, and stop-start song structures and melodies are common, with the use of jerky rhythms, and synthesizers. Reynolds noted new-wave vocalists sound high-pitched, geeky, and suburban.<ref name="Reynolds160">Reynolds, Simon Rip It Up and Start Again PostPunk 1978–1984 p.160</ref><ref name="britann">Template:Cite web</ref><ref name="Anglomania: The Second British Invasion" />

In America, new wave became widely popularized by channels like MTV, which would play British new wave music videos because most American hit records did not have music videos to play. British videos, according to head of S-Curve Records and music producer Steve Greenberg, "were easy to come by since they'd been a staple of UK pop music TV programs like Top of the Pops since the mid-70s."<ref name="From Comiskey Park To 'Thriller'">Template:Cite web</ref> This rise in technology made the visual style of new wave musicians important for their success. In the early 1980s, virtually every new pop and rock act – and particularly those that employed synthesizers – were tagged as "new wave" in the United States, while the term was also later used to label bands in the British post-punk scene.<ref name="allmusic.com" /> The term has been described as so loose and wide-ranging as to be "virtually meaningless", according to the New Rolling Stone Encyclopedia of Rock.Template:Sfn<ref name="QA Theo Cateforis" />

A nervous, nerdy persona was a common characteristic of new wave fans, and acts such as Talking Heads, Devo, and Elvis Costello.Template:Sfn This took the forms of robotic dancing, jittery high-pitched vocals, and clothing fashions that hid the body such as suits and big glasses.Template:Sfn This seemed radical to audiences accustomed to post-counterculture genres such as disco dancing and macho "cock rock" that emphasized a "hang loose" philosophy, open sexuality, and sexual bravado.Template:Sfn<ref>Bobby Vox: Gorgonen, Hydras & Chimären – Interview with Marquee Moon, E.B. music magazine, issue 3/86, p. 18, May 1986</ref><ref name="NewLife88">New Life Soundmagazine, issue 38, description of the single "Love Will Tear Us Apart" by Joy Division, p. 10, November 1988</ref>

Blondie, 1977. L–R: Gary Valentine, Clem Burke, Deborah Harry, Chris Stein and Jimmy Destri.

New wave may be seen as an attempt to reconcile "the energy and rebellious attitude of punk" with traditional forms of pop songwriting, as seen in the rockabilly riffs and classic craftsmanship of Elvis Costello and the 1960s mod influences of the Jam.<ref name="QA Theo Cateforis">Template:Cite web</ref><ref name="UKNewWave">Template:Cite web</ref> Paul Weller, who called new wave "the pop music of the Seventies",<ref>Template:Cite book</ref> explained to Chas de Whalley in 1977:

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Although new wave shares punk's do-it-yourself artistic philosophy, the musicians were more influenced by the light strains of 1960s pop while opposed to mainstream "corporate" rock, which they considered creatively stagnant, as well as the generally abrasive and political bents of punk rock.<ref name="britann" /> In the early 1980s, particularly in the United States, notable new wave acts embraced a crossover of pop and rock music with African and African-American styles. Adam and the Ants and Bow Wow Wow, both acts with ties to former Sex Pistols manager Malcolm McLaren, used Burundi-style drumming.Template:Sfn Talking Heads' album Remain in Light was marketed and positively reviewed as a breakthrough melding of new wave and African styles, although drummer Chris Frantz said he found out about this supposed African influence after the fact.Template:Sfn As the decade continued, new wave elements would be adopted by African-American musicians such as Grace Jones, Janet Jackson, and Prince,<ref>Template:Cite web</ref> who in particular used new wave influences to lay the groundwork for the Minneapolis sound.<ref>Template:Cite book</ref><ref>Template:Cite web</ref><ref name=":2">Template:Cite web</ref><ref>Template:Cite web</ref>

History

Forerunners

The Velvet Underground have been heralded for their influence on new wave.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>Template:Sfn The glam and art rock inspired style of Roxy Music and Sparks<ref>Template:Cite web</ref><ref>Template:Cite web</ref> were also influential to the genre alongside the works of David Bowie, Iggy Pop<ref>Template:Cite web</ref> and Brian Eno.<ref>Template:Cite web</ref> The work of experimental rock artists such as Captain Beefheart, Frank Zappa, and the Residents,<ref>Template:Cite web</ref> underground psychedelic bands Lothar and the Hand People<ref>Template:Cite web</ref> as well as Germany's krautrock and electronic-based kosmische musik scene, particularly the work of Kraftwerk, have been described as influencing or presaging the movement.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>

The influence of avant-garde and abstract art movements such as Dada, Cubism and the Bauhaus school would also influence the visual aesthetic and sound of new wave artists, which became contemporaneous with the development of the Memphis Design aesthetic adopted by MTV and many new wave artists during the 1980s.<ref>Template:Cite web</ref><ref>Template:Cite web</ref><ref>Template:Cite news</ref> Additionally, Peter Ivers early output was later recognized as a precursor to new wave with Ivers contributing to the Eraserhead soundtrack and later hosting the influential show New Wave Theatre which helped popularize many early Californian new wave acts.<ref>Template:Cite web</ref>

Early 1970s

The term "new wave" was originally coined by Seymour Stein of Sire Records<ref name=":0" /><ref name=":1" /> as a catch-all for more accessible music that emerged after punk rock in the United States.<ref>Template:Cite web</ref> At the time, due to the emergence of the Sex Pistols, the American media portrayed punk rock as dangerous and violent, leading to a stigma that made music "virtually unmarketable,"<ref name="QA Theo Cateforis" /> emerging groups who stemmed from the American punk scene, began to adopt "new wave" as a form of marketing that distanced themselves from the "punk" label.<ref name="allmusic.com" />

Talking Heads performing in Toronto in 1978

As early as 1973, critics including Nick Kent and Dave Marsh were using the term "new wave" to classify New York–based groups such as the Velvet Underground and New York Dolls.Template:Sfn In the US, many of the first new wave groups were found in the early New York punk scene, with acts such as Milk 'N' Cookies,<ref>Template:Cite web</ref> the Shirts, Mumps, Talking Heads, Mink DeVille, and Blondie who drew influences from glam, art rock, and power pop and were primarily associated with the CBGB scene.<ref name="EncyclopediaofContemporaryBritishCulture" /> Alongside Devo and Pere Ubu who emerged out of the early Ohio punk scene, followed by Ultravox in London.<ref>Template:Cite news</ref><ref>Template:Cite web</ref> Some influential bands, such as New York's Suicide<ref>Template:Cite web</ref> and Boston's the Modern Lovers debuted even earlier, with drummer David Robinson later joining early new wave band the Cars.<ref>Template:Cite book</ref> CBGB owner Hilly Kristal, referring to the first show by Television at his club in March 1974, said; "I think of that as the beginning of new wave".<ref>Clinton Heylin, Babylon's Burning (Conongate, 2007), p. 17.</ref> Many musicians who would have originally been classified as punk were also described as new wave, with the label used interchangeably with punk bands before it denoted a specific sound. A 1977 Phonogram Records compilation album of the same name (New Wave) includes American punk rock bands such as the Dead Boys and Ramones alongside Talking Heads and the Runaways.<ref name="EncyclopediaofContemporaryBritishCulture">Template:Cite book</ref><ref name=Savage>Savage, Jon. (1991) England's Dreaming, Faber & Faber</ref>

Mid- to late 1970s

Between 1976 and 1977, the terms "new wave" and "punk" were used somewhat interchangeably.<ref name="dissertation">Template:Cite conference</ref><ref name="Joynson11to12" /> Music historian Vernon Joynson said new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk.<ref name="Joynson11to12">Template:Cite book</ref> That year, the term gained currency when it appeared in UK punk fanzines such as Sniffin' Glue, and music weeklies such as Melody Maker and New Musical Express.<ref name=Gendron>Gendron, Bernard (2002). Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde (Chicago and London: University of Chicago Press), pp. 269–270.</ref> In November 1976, Caroline Coon used the term "new wave" to designate music by bands that were not exactly punk but were related to the punk-music scene.<ref>Clinton Heylin, Babylon's Burning (Conongate, 2007), pp. 140, 172.</ref> The mid-1970s British pub rock scene became another source of many of the most-commercially-successful new wave acts, such as Ian Dury and Nick Lowe, as well as Ireland's Boomtown Rats.<ref name="Bomp">Adams, Bobby. "Nick Lowe: A Candid Interview", Bomp magazine, January 1979, reproduced at [1]. Retrieved 21 January 2007.</ref>

In the US, Sire Records chairman Seymour Stein, believing the term "punk" would mean poor sales for Sire's acts who had frequently played the New York club CBGB, launched a "Don't Call It Punk" campaign in October 1977 designed to replace the term with "new wave".Template:Sfn<ref>Template:Cite web</ref> The term "punk" drew negative associations in the US due to the British punk subculture, while radio consultants had advised their clients that punk rock was a fad, and so they settled on the new term. The New York Rocker, which was suspicious of the term "punk", had been using the term "new wave" since December 1976 and was the first American journal to enthusiastically use the term, at first for British acts and later for acts associated with the CBGB scene.<ref name=Gendron /> At first, most American writers used the term "new wave" exclusively in reference to British punk acts.<ref>The Grove Dictionary of American Music, 2nd edition New 3 September 2014</ref> The music's stripped-back style and upbeat tempos, which Stein and others viewed as a much-needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with progressive rock and stadium spectacles, attracted them to new wave.<ref name="Cateforis, Theo 2014">Cateforis, Theo. "New Wave." The Grove Dictionary of American Music, 2nd ed., Oxford University Press. 2014.</ref>Template:Page needed

In England, the terms "post-punk" and "new musick" were coined by music journalist Jon Savage in the November 26, 1977 issue of Sounds in an article titled "New Musick: Devo Look Into the Future!" to describe a strain of bands that were moving passed the garage rock conventions of punk rock and incorporating wider influences.<ref name=":4">Template:Cite magazine</ref> The terms "post-punk" and "new wave" were used interchangeably to describe these groups before the genres perceptibly narrowed, some artists adopted synthesizers.<ref>Template:Cite book</ref> In London, artists such as Ultravox, Elvis Costello and Gary Numan's Tubeway Army later released influential new wave albums during this period. While punk rock wielded a major influence on the popular music scene in the UK, in the US it remained a fixture of the underground.<ref name="Cateforis, Theo 2014" />

By the end of 1977, "new wave" had replaced "punk" as the term for new underground music in the UK.<ref name="Gendron" /> In early 1978, XTC released the single "This Is Pop" as a direct response to tags such as "new wave". Songwriter Andy Partridge later stated of bands such as themselves who were given those labels; "Let's be honest about this. This is pop, what we're playing ... don't try to give it any fancy new names, or any words that you've made up, because it's blatantly just pop music. We were a new pop group. That's all."<ref>Template:Cite web</ref>

In October 1978, the Cars released the single "My Best Friend's Girl" which was one of the first new wave singles to enter the Top 40 peaking at number 35 on the U.S. Billboard Hot 100 chart, and reaching number three in the UK.<ref name="billboard">Template:Cite book</ref><ref name="billboard2">Template:Cite book</ref> In January 1979, Blondie released "Heart of Glass" which became the first new wave single to reach number 1 on the US Billboard Hot 100 and the UK Singles Chart. This success was followed by other new wave hits including M's "Pop Muzik", Tubeway Army's "Are 'Friends' Electric?", the Police's "Roxanne" and "Message in a Bottle", Gary Numan's "Cars", the Knack's "Good Girls Don't" and the Buggles' "Video Killed the Radio Star", which not only became a hit but later made history in 1981 as the first music video played on MTV.<ref>Template:Cite news</ref>

1980s

<section begin="overview"/>In the early 1980s, new wave gradually lost its associations with punk in popular perception among some Americans. Writing in 1989, music critic Bill Flanagan said; "Bit by bit the last traces of Punk were drained from New Wave, as New Wave went from meaning Talking Heads to meaning the Cars to Squeeze to Duran Duran to, finally, Wham!".Template:Sfn Among many critics, however, new wave remained tied to the punk/new wave period of the late 1970s. Writing in 1990, the "Dean of American Rock Critics" Robert Christgau, who gave punk and new wave bands major coverage in his column for The Village Voice in the late 1970s, defined "new wave" as "a polite term devised to reassure people who were scared by punk, it enjoyed a two- or three-year run but was falling from favor as the '80s began."<ref>Template:Cite book</ref>

Lester Bangs, another critical promoter of punk and new wave in the 1970s, when asked if new wave was "still going on" in 1982, stated that "The only trouble with New Wave is that nobody followed up on it ... But it was really an exciting burst there for like a year, year and a half."<ref>Template:Cite web</ref> Starting around 1983, the US music industry preferred the more generic term "new music", which it used to categorize new movements like new pop and New Romanticism.Template:Sfn In 1983, music journalist Parke Puterbaugh wrote that new music "does not so much describe a single style as it draws a line in time, distinguishing what came before from what has come after."<ref name="Anglomania: The Second British Invasion">Template:Cite magazine</ref> Chuck Eddy, who wrote for The Village Voice in the 1980s, said in a 2011 interview that by the time of British new pop acts' popularity on MTV, "New Wave had already been over by then. New wave was not synth music; it wasn't even this sort of funny-haircut music. It was the guy in the Boomtown Rats wearing pajamas."<ref>Template:Cite magazine</ref> Similarly in Britain, journalists and music critics largely abandoned the term "new wave" with the rise of synth-pop.Template:Sfn According to authors Stuart Borthwick and Ron Moy, "After the monochrome blacks and greys of punk/new wave, synth-pop was promoted by a youth media interested in people who wanted to be pop stars, such as Boy George and Adam Ant".<ref name=Borthwick>Template:Citation</ref>

In 2005, Andrew Collins of The Guardian offered the breakup of the Jam, and the formation of Duran Duran, as two possible dates marking the "death" of new wave.<ref name="Collins">Template:Cite news</ref> British rock critic Adam Sweeting, who described the Jam as "British New Wave at its most quintessential and successful", remarked that the band broke up "just as British pop was being overrun by the preposterous leisurewear and over-budgeted videos of Culture Club, Duran Duran and ABC, all of which were anathema to the puritanical Weller."<ref>Template:Cite web</ref> Scholar Russ Bestley noted that while punk, new wave, and post-punk songs had featured on the Top of the Pops album series between mid-1977 and early 1982, by the time of the first Now That's What I Call Music! compilation in 1983 punk and new wave was "largely dead and buried as a commercial force".<ref name=ual>Template:Cite web</ref><section end="overview"/>

New wave was closely tied to punk, and came and went more quickly in the UK and Western Europe than in the US. At the time punk began, it was a major phenomenon in the UK and a minor one in the US. When new wave acts started being noticed in the US, the term "punk" meant little to mainstream audiences, and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts.Template:Sfn

Illustrating the varied meanings of "new wave" in the UK and the US, Collins recalled how growing up in the 1970s he considered the Photos, who released one album in 1980 before splitting up a year later, as the most "truly definitive new wave band". In the same article, reviewing the American book This Ain't No Disco: New Wave Album Covers, Collins noted that the book's inclusion of such artists as Big Country, Roxy Music, Wham!, and Bronski Beat "strikes an Englishman as patently ridiculous", but that the term means "all things to all cultural commentators."<ref name="Collins"/> By the 2000s, critical consensus favored "new wave" to be an umbrella term that encompasses power pop, synth-pop, ska revival, and the soft strains of punk rock.<ref name="bubgum"/> In the UK, some post-punk music developments became mainstream.Template:Sfn According to music critic David Smay writing in 2001:

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Popularity in the United States (1970s–1980s)

Painting of a Devo energy dome hat

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1970s

In mid-1977, arena rock and disco dominated the U.S. charts<ref name="StJames" /> while acts associated with punk/new wave received little or no radio airplay and music industry support, despite favorable lead stories by Time<ref>Template:Cite magazine</ref> and Newsweek.<ref name="punk/newwave">Template:Cite web</ref> Small new wave scenes developed in major cities, but public support remained limited to elements of the artistic, bohemian, and intellectual population.<ref name=Gendron /> In early 1979, Eve Zibart of The Washington Post noted the contrast between "the American audience's lack of interest in New Wave music" compared to critics, with a "stunning two-thirds of the Top 30 acts" in the 1978 Pazz & Jop poll falling into the "New Wave-to-rock 'n' roll revivalist spectrum".<ref>Template:Cite news</ref> A month later, Zibart called Elvis Costello the "Best Shot of the New Wave" in America, speculating that "If New Wave is to take hold here, it will be through the efforts of those furthest from the punk center" due to "inevitable" American middle-class resistance to the "jarring rawness of New Wave and its working-class angst."<ref>Template:Cite news</ref>

In late 1978 and 1979, punk acts and acts that mixed punk with other genres began to make chart appearances and receive airplay on rock stations and rock discos.Template:Sfn Blondie, Talking Heads, the Police, and the Cars charted during this period.<ref name="dissertation" /><ref name=StJames>Template:Cite encyclopedia</ref> In 1979, "My Sharona" by the Knack was Billboard magazine's number-one single; its success, combined with new wave albums being much cheaper to produce during the music industry's worst slump in decades,Template:Sfn prompted record companies to sign new wave groups.<ref name="dissertation" /> At the end of 1979, Dave Marsh wrote in Time that the Knack's success confirmed rather than began the new wave movement's commercial rise, which had been signaled in 1978 by hits for the Cars and Talking Heads.<ref>Template:Cite magazine</ref> In 1980, there were brief forays into new wave-style music by non-new wave artists Billy Joel (Glass Houses), Donna Summer (The Wanderer), and Linda Ronstadt (Mad Love).<ref name="dissertation" />

1980s

Early in 1980, influential radio consultant Lee Abrams wrote a memo saying with a few exceptions, "we're not going to be seeing many of the new wave circuit acts happening very big [in the US]. As a movement, we don't expect it to have much influence."<ref name="AOR Lee Abrams Memo">Template:Cite news</ref><ref name="allmusic.com"/> A year earlier, Bart Mills of The Washington Post asked "Is England's New Wave All Washed Up?", writing that "The New Wave joined the Establishment, buying a few hits at the price of its anarchism. Not a single punk band broke through big in America, and in Britain John Travolta sold more albums than the entire New Wave."<ref>Template:Cite news</ref> Lee Ferguson, a consultant to KWST, said in an interview Los Angeles radio stations were banning disc jockeys from using the term and noted; "Most of the people who call music new wave are the ones looking for a way not to play it".<ref>Template:Cite news</ref> Second albums by new wave musicians who had successful debut albums, along with newly signed musicians, failed to sell and stations pulled most new wave programming,<ref name="dissertation" /> such as Devo's socially critical but widely misunderstood song "Whip It".<ref>Template:Cite web.</ref>

In 1981, the start of MTV began new wave's most successful era in the US.Template:Citation needed British musicians, unlike many of their American counterparts, had learned how to use the music video early on.<ref name=StJames /><ref name=Reynolds>Rip It Up and Start Again Postpunk 1978–1984 by Simon Reynolds Pages 340, 342–343</ref> Several British acts on independent labels were able to outmarket and outsell American musicians on major labels, a phenomenon journalists labeled the "Second British Invasion" of "new music", which included many artists of the New Romantic movement.<ref name=Reynolds /><ref>Template:Cite news</ref> In 1981, Rolling Stone contrasted the movement with the previous new wave era, writing that "the natty Anglo-dandies of Japan", having been "reviled in the New Wave era", seemed "made to order for the age of the clothes-conscious New Romantic bands."<ref>Template:Cite news</ref> MTV continued its heavy rotation of videos by "post-New Wave pop" acts "with a British orientation" until 1987, when it changed to a heavy metal and rock-dominated format.<ref>Template:Cite news</ref>

In a December 1982 Gallup poll, 14% of teenagers rated new wave as their favorite type of music, making it the third-most-popular genre.<ref name=Gallup1982 /> New wave had its greatest popularity on the West Coast. Unlike other genres, race was not a factor in the popularity of new wave music, according to the poll.<ref name=Gallup1982>Template:Cite news</ref> Urban contemporary radio stations were the first to play dance-oriented new wave bands such as the B-52's, Culture Club, Duran Duran, and ABC.<ref>Template:Cite web</ref>

Ian McCulloch of Echo and the Bunnymen

New wave soundtracks were used in mainstream Brat Pack films such as Sixteen Candles, Pretty in Pink, and The Breakfast Club, as well as in the low-budget hit Valley Girl.<ref name=StJames /><ref>Template:Cite news</ref> John Hughes, the director of several of these films, was enthralled with British new wave music, and placed songs from acts such as the Psychedelic Furs, Simple Minds, Orchestral Manoeuvres in the Dark, and Echo and the Bunnymen in his films, helping to keep new wave in the mainstream.<ref>Template:Cite web</ref> Several of these songs remain standards of the era.<ref>Template:Cite web</ref> Critics described the MTV acts of the period as shallow or vapid.<ref name=StJames /><ref name=Reynolds /> Homophobic slurs were used to describe some of the new wave musicians.Template:Sfn Despite the criticism, the danceable quality of the music and the quirky fashion sense associated with new wave musicians appealed to audiences.<ref name=StJames /> Peter Ivers, who started his career in the late 1960s, went on to become the host for the television program New Wave Theatre that showcased rising acts in the underground new wave scene. He has been described by NTS Radio as "a virtuosic songwriter and musician whose antics bridged not just 60s counterculture and New Wave music but also film, theater, and music television."<ref>Template:Cite web</ref><ref>Template:Cite magazine</ref>

In September 1988, Billboard launched its Modern Rock chart, the acts on which reflected a wide variety of stylistic influences. New wave's legacy remained in the large influx of acts from the UK, and acts that were popular in rock discos, as well as the chart's name, which reflects the way new wave was marketed as "modern".Template:Sfn According to Steve Graves, new wave's indie spirit was crucial to the development of college rock and grunge/alternative rock in the latter half of the 1980s and onward.<ref name="StJames" /> Conversely, according to Robert Christgau, "in America, the original New Wave was a blip commercially, barely touching the nascent alt-rock counterculture of the '80s."<ref name="Christgau">Christgau, Robert (1996) "How to Beat the Law of Averages", from Details, 1996.</ref>

1990s

Template:See also In the US, new wave continued into the mid-1980s but declined with the popularity of the New Romantic, new pop, and new music genres.<ref name="USNewWave">Template:Cite news</ref><ref name="dissertation"/> Some new wave acts, particularly R.E.M., maintained new wave's indie label orientation through most of the 1980s, rejecting potentially more lucrative careers from signing to a major label.<ref name=StJames /> In the UK, new wave "survived through the post-punk years, but after the turn of the decade found itself overwhelmed by the more outrageous style of the New Romantics."<ref name="UKNewWave" /> In response, many British indie bands adopted "the kind of jangling guitar work that had typified New Wave music",<ref>Template:Cite web</ref> with the arrival of the Smiths characterised by the music press as a "reaction against the opulence/corpulence of nouveau rich New Pop"<ref>Template:Cite book</ref> and "part of the move back to guitar-driven music after the keyboard washes of the New Romantics".<ref>Template:Cite web</ref> In the aftermath of grunge, the British music press launched a campaign to promote the new wave of new wave that involved overtly punk and new-wave-influenced acts such as Elastica, but it was eclipsed by Britpop, which took influences from both 1960s rock and 1970s punk and new wave.<ref name=EncyclopediaofContemporaryBritishCulture /><ref>Template:Cite web</ref> Robert Christgau identified the mid-1990s NWONW movement as the peak of a new wave revival that has continued on and off since, stating in 1996, "1994 was the top of a curve we can't be certain we've reached the bottom of".<ref name="Christgau2">Christgau, Robert (1996) "How to Beat the Law of Averages", from Details, 1996.</ref>

2000s–2010s

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Franz Ferdinand performing in 2006

During the 2000s, a number of artists that exploited a diversity of new wave and post-punk influences emerged through the alternative rock scene. In New York, these acts were encompassed by the electroclash<ref name="dancecult2">Template:Cite journal</ref> and post-punk revival movement, sometimes labeled "New New Wave".<ref name="msnbc">Template:Cite web</ref><ref>Template:Cite web</ref>

According to British music journalist Chris Nickson, Scottish band Franz Ferdinand revived both Britpop and the music of the late 1970s "with their New Wave influenced sound".<ref>Template:Cite web</ref> AllMusic notes the emergence of these acts "led journalists and music fans to talk about a post-punk/new wave revival" while arguing it was "really more analogous to a continuum, one that could be traced back as early as the mid-'80s".<ref name="Revival">[[[:Template:AllMusic]] New Wave/Post Punk Revival]. AllMusic.</ref> In England, the resurgence of indie rock music that emerged through the 2000s post-punk revival scene led to a proliferation of formulaic acts collectively labelled "landfill indie". James New of Mumm-Ra, an artist associated with this era, stated "I went into a weird new-wave band, because it felt so saturated seeing the same bands with kids in skinny jeans." <ref>Template:Cite web</ref>

New wave revivalism influenced later internet microgenres such as zolo,<ref>Template:Cite web</ref> bloghouse,<ref>Template:Cite web</ref> chillwave, synthwave and vaporwave. In the mid- to late 2010s, an online internet meme, led to the coining of a microgenre originally known as "devo-core", and later renamed "egg punk". The style was pioneered by Indiana band the Coneheads and characterized by the zany, lo-fi and edgier aspects of new wave band Devo.<ref name="P4K">Template:Cite web</ref>

2020s

Template:See also In 2021, the New York electroclash and bloghouse scenes of the 2000s which drew inspiration from new wave music, led a woman named Olivia V. to coin an internet aesthetic known as "indie sleaze", through the launching of the Instagram account @indiesleaze, which was dedicated to documenting the visual style of that period.<ref>Template:Cite web</ref>

Regional scenes

Soviet Union

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During the 1970s and 1980s, under the Soviet Union, an underground music scene influenced by the punk subculture in the United States and UK led to the development of several post-punk and new wave influenced acts in countries such as Bosnia, Estonia, Russia, Serbia, and Belarus. In Russia, prominent post-punk acts were centered in Leningrad such as Kino, Akvarium, Auktyon, Nautilus Pompilius and Piknik.<ref>Template:Cite news</ref><ref>Template:Cite web</ref><ref>Template:Cite news</ref>

Spain

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Template:See also In post-Francoist Spain during the late 1970s and early 1980s, the influence of punk rock led to La Movida Madrileña (The Madrid Scene),<ref>Template:Cite news</ref> a countercultural movement centered in Madrid that emerged after the death of Spanish dictator Francisco Franco. The movement musically drew influences from post-punk, synth-pop and new wave music.<ref>Template:Cite web</ref> In the 2010s and 2020s, the Spanish post-punk scene became encompassed by acts such as Depresión Sonora.<ref>Template:Cite web</ref>

See also

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References

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Bibliography

Further reading

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