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New wave
Stylistic origins
Cultural originsMid-to-late 1970s
Derivative forms
Subgenres
Fusion genres
Two-tone[13]
Regional scenes
Local scenes
La Movida Madrileña
Other topics

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 was coined by Sire Records founder Seymour Stein as a catch-all for musical styles that emerged after punk rock and ultimately encompassed many contemporary popular music styles, including 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

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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.[7][18] Though the term was originally coined by Seymour Stein of Sire Records[19][20] 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.[18][21]

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.[22] 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.[23][18][24]

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."[25] 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.[22] 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.[26][27]

A nervous, nerdy persona was a common characteristic of new wave fans, and acts such as Talking Heads, Devo, and Elvis Costello.[28] This took the forms of robotic dancing, jittery high-pitched vocals, and clothing fashions that hid the body such as suits and big glasses.[29] 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.[30][31][32]

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.[33][34] Paul Weller, who called new wave "the pop music of the Seventies",[35] explained to Chas de Whalley in 1977:

It's just pop music and that's why I like it. It's all about hooks and guitar riffs. That's what the new wave is all about. It's not heavy and negative like all that Iggy and New York stuff. The new wave is today's pop music for today's kids, it's as simple as that.[36]

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.[18] 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.[37] 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.[38] As the decade continued, new wave elements would be adopted by African-American musicians such as Grace Jones, Janet Jackson, and Prince,[39] who in particular used new wave influences to lay the groundwork for the Minneapolis sound.[40][41][42][43]

History

[edit]

Forerunners

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The Velvet Underground have been heralded for their influence on new wave.[44][45][46] The glam and art rock inspired style of Roxy Music and Sparks[47][48] were also influential to the genre alongside the works of David Bowie, Iggy Pop[49] and Brian Eno.[50] The work of experimental rock artists such as Captain Beefheart, Frank Zappa, and the Residents,[51] underground psychedelic bands Lothar and the Hand People[52] 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.[53][54]

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.[55][56][57] 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.[58]

Early 1970s

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The term "new wave" was originally coined by Seymour Stein of Sire Records[19][20] as a catch-all for more accessible music that emerged after punk rock in the United States.[59] 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,"[60] 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.[22]

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.[61] 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,[62] 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.[63] Alongside Devo and Pere Ubu who emerged out of the early Ohio punk scene, followed by Ultravox in London.[64][65] Some influential bands, such as New York's Suicide[66] and Boston's the Modern Lovers debuted even earlier, with drummer David Robinson later joining early new wave band the Cars.[67] 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".[68] 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.[63][69]

Mid- to late 1970s

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Between 1976 and 1977, the terms "new wave" and "punk" were used somewhat interchangeably.[70][71] Music historian Vernon Joynson said new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk.[2] 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.[72] 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.[73] 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.[74]

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 designed to replace the term with "new wave".[75] Because radio consultants in the US had advised their clients punk rock was a fad, they settled on the new term. At first, most American writers used the term "new wave" exclusively in reference to British punk acts.[76] Starting in December 1976, The New York Rocker, which was suspicious of the term "punk", became the first American journal to enthusiastically use the term, at first for British acts and later for acts associated with the CBGB scene.[72] 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.[77][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.[78] The terms "post-punk" and "new wave" were used interchangeably to describe these groups before the genres perceptibly narrowed, some artists adopted synthesizers.[79] 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.[77]

By the end of 1977, "new wave" had replaced "punk" as the term for new underground music in the UK.[72] 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."[80]

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.[81][82] 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.[83]

1980s

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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!".[84] 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."[85]

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."[86] 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.[87] 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."[24] 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."[88] Similarly in Britain, journalists and music critics largely abandoned the term "new wave" with the rise of synth-pop.[89] 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".[90]

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.[91] 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."[92] 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".[93]

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.[94]

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."[91] 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.[8] In the UK, some post-punk music developments became mainstream.[95] According to music critic David Smay writing in 2001:

Current critical thought discredits new wave as a genre, deriding it as a marketing ploy to soft-sell punk, a meaningless umbrella term covering bands too diverse to be considered alike. Powerpop, synth-pop, ska revival, art school novelties and rebranded pub rockers were all sold as "New Wave".[8]

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

[edit]
Painting of a Devo energy dome hat

1970s

[edit]

In mid-1977, arena rock and disco dominated the U.S. charts[96] while acts associated with punk/new wave received little or no radio airplay and music industry support, despite favorable lead stories by Time[97] and Newsweek.[98] Small new wave scenes developed in major cities, but public support remained limited to elements of the artistic, bohemian, and intellectual population.[72] 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".[99] 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."[100]

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.[101] Blondie, Talking Heads, the Police, and the Cars charted during this period.[70][96] 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,[101] prompted record companies to sign new wave groups.[70] 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.[102] 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).[70]

1980s

[edit]

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."[103][22] 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."[104] 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".[105] 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,[70] such as Devo's socially critical but widely misunderstood song "Whip It".[106]

In 1981, the start of MTV began new wave's most successful era in the US.[citation needed] British musicians, unlike many of their American counterparts, had learned how to use the music video early on.[96][107] 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.[107][108] 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."[109] 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.[110]

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.[111] 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.[111] 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.[112]

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.[96][113] 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.[114] Several of these songs remain standards of the era.[115] Critics described the MTV acts of the period as shallow or vapid.[96][107] Homophobic slurs were used to describe some of the new wave musicians.[116] Despite the criticism, the danceable quality of the music and the quirky fashion sense associated with new wave musicians appealed to audiences.[96] 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."[117][118]

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".[119] 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.[96] 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."[120]

1990s

[edit]
See also: New wave of new wave

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.[121][70] 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.[96] 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."[34] In response, many British indie bands adopted "the kind of jangling guitar work that had typified New Wave music",[122] with the arrival of the Smiths characterised by the music press as a "reaction against the opulence/corpulence of nouveau rich New Pop"[123] and "part of the move back to guitar-driven music after the keyboard washes of the New Romantics".[124] 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.[63][125] 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".[126]

2000s–2010s

[edit]
See also: New new wave
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[127] and post-punk revival movement, sometimes labeled "New New Wave".[128][129]

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".[130] 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".[131] 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." [132]

New wave revivalism influenced later internet microgenres such as zolo,[133] bloghouse,[134] 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.[135]

2020s

[edit]
See also: Indie sleaze

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.[136]

Regional scenes

[edit]

Soviet Union

[edit]
Not to be confused with Sovietwave.

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.[137][138][139]

Spain

[edit]
Main article: La Movida Madrileña
See also: Punk rock in Spain

In post-Francoist Spain during the late 1970s and early 1980s, the influence of punk rock led to La Movida Madrileña (The Madrid Scene),[140] 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.[141] In the 2010s and 2020s, the Spanish post-punk scene became encompassed by acts such as Depresión Sonora.[142]

See also

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References

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Bibliography

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Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

New wave music

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New wave music is a subgenre of rock that flourished from the late through the early , blending the raw energy and rebellious attitude of with more accessible pop structures, electronic instrumentation, and eclectic influences such as , , and . Emerging initially as a term synonymous with punk in the mid-, it evolved into a commercially viable style that emphasized melodic hooks, rhythmic experimentation, and a cleaner, more polished production compared to punk's minimalism. The genre originated in key urban scenes in and , where bands sought to move beyond punk's limitations by incorporating sophisticated arrangements and ironic, quirky lyrics that often critiqued consumer culture and . By the turn of the , new wave gained widespread popularity through the advent of in 1981, which favored the genre's visually striking videos and British acts during the so-called "Second British Invasion." This period marked a shift toward synthesizers and electronic sounds, influencing the transition into and paving the way for mainstream pop. The style's peak in the early saw it dominate charts, but it began to fade by the mid- as subgenres like and emerged. Characteristic elements of new wave include upbeat tempos, minimalist yet colorful instrumentation with keyboards and saxophones, and a departure from blues-based rock traditions in favor of angular rhythms and playful experimentation. Unlike punk's raw aggression, new wave often featured crisp vocals, less distortion, and crossover appeals that drew from and rhythms. Notable artists include American acts like , Blondie, , and , alongside British groups such as , , , , and , many of whom achieved international success through radio and video play. The genre also highlighted female-fronted bands like , , and , contributing to greater gender diversity in rock. New wave's legacy endures in contemporary , electronic , and pop, having broadened rock's stylistic boundaries and emphasized visual and cultural innovation over technical virtuosity. Its ironic detachment and embrace of modernity influenced later movements, while its commercial triumphs helped redefine the industry in the era.

Terminology and Characteristics

Etymology

The term "new wave" in the context of originated from the French phrase nouvelle vague, which denoted the groundbreaking cinema movement of the late and early , characterized by experimental techniques, youthful perspectives, and a rejection of conventional storytelling. This cinematic label was adopted by English-language critics in the to describe innovative trends in rock, evoking a sense of fresh, energy. For instance, British journalist employed the phrase "new wave of rock aristos" in 1966 to refer to the rising cohort of self-penned, album-oriented rock musicians who elevated pop's artistic status amid influences like and the ' songwriting evolution. By the mid-1970s, amid the explosion, "new wave" gained traction in underground publications as a descriptor for the raw, DIY ethos of the scene, initially serving as a near-synonym for punk in fanzines and rock magazines like . The term's broader application emerged around 1976–1977, shifting to encompass a spectrum of eclectic, melodic styles that incorporated elements of art rock, pop, and electronics, distinguishing it from punk's stricter minimalism. Village Voice critic played a key role in popularizing this expanded usage in 1977, applying "new wave" to diverse British imports and American acts in his reviews, which highlighted their energetic yet accessible innovations over punk's confrontational edge. Record industry executives further propelled the term's commercial viability; founder is credited with coining it in the late 1970s specifically to rebrand experimental groups for radio play, avoiding the stigmatized "punk" label that deterred programmers and venues. This marketing strategy transformed "new wave" into an umbrella category for label promotions, enabling eclectic acts to reach wider audiences. However, its inherent vagueness sparked ongoing debates: punk purists derided it as a pejorative dilution of authentic , while critics like those in academic analyses noted its lack of precise definition, often critiquing it as an "" catch-all that blurred boundaries between underground experimentation and mainstream polish.

Musical and Stylistic Features

New wave music is characterized by an eclectic fusion of punk's raw energy with elements from , pop, and emerging electronic music, resulting in angular rhythms, choppy guitar riffs, and prominent synthesizers that created a distinctive, danceable sound. This blend often featured vocals and highly processed instruments, emphasizing experimental yet accessible arrangements that contrasted with punk's unpolished aggression. For instance, bands incorporated minimalist textures and synthesized tones, drawing on affordable technologies like the synthesizer for lush, polyphonic layers and the Linn LM-1 for crisp, programmed beats that added a mechanical precision to the genre's propulsion. Lyrically, new wave emphasized witty and ironic themes, frequently exploring , , and the absurdities of modern life, which infused with a quirky, edge. These often critiqued technology's role in society and personal disconnection, delivered through unconventional melodies and exaggerated beats that heightened their satirical bite. Production techniques further refined this aesthetic, employing cleaner, radio-friendly sounds with , reverb, and effects to enhance hooks and accessibility, while influences from and introduced syncopated rhythm sections and groovy basslines. Drum machines like the DX provided tunable samples that supported these danceable grooves, making the genre more polished and commercially viable compared to its punk origins. Sub-stylistic variations within new wave included "white funk," exemplified by polyrhythmic structures that layered interlocking grooves over angular punk foundations, as heard in ' innovative rhythms blending funk's with rock's edge. elements contributed catchy, hook-driven choruses and three-minute song structures, prioritizing melodic immediacy, while experimental noise from roots added dissonant textures and unconventional instrumentation like organs for a retro-futuristic vibe. The genre's aesthetic extended to , integrating androgynous clothing, neon colors, and geometric patterns that mirrored its sonic eccentricity and challenged traditional norms.

Historical Development

Precursors in the 1960s and Early 1970s

The roots of new wave music can be traced to the innovative and rebellious sounds of the , particularly the rock movement, which emphasized raw energy and amateurish enthusiasm in contrast to the polished production of mainstream rock. Bands like pushed boundaries with their experimental noise and avant-garde approach, blending dissonant guitars, unconventional song structures, and themes of urban alienation that would later resonate in punk and new wave aesthetics. Similarly, the scene contributed an eclectic mix of sonic experimentation, incorporating distorted effects, modal improvisation, and cultural commentary that encouraged artists to explore beyond traditional rock conventions. Proto-punk acts such as exemplified raw aggression through primal, feedback-laden riffs and confrontational performances, laying a foundational blueprint for the stripped-down intensity that new wave would refine. In the early 1970s, introduced theatricality and visual flair, with David Bowie's chameleon-like personas and 's sophisticated fusion of lounge, , and futuristic imagery inspiring a generation to prioritize style and irony in rock expression. developments, including Brian Eno's contributions during his time with and his subsequent early ambient experiments in solo work, added layers of conceptual depth and electronic textures that influenced new wave's embrace of innovation over virtuosity. Across the Atlantic, the UK's pub rock revival reacted against bloated by reviving high-energy, no-frills performances in intimate venues, fostering a back-to-basics that emphasized direct audience connection without elaborate spectacle. Cultural precursors emerged from post-1960s countercultural shifts, where the DIY ethos of underground publishing—through fanzines and —promoted self-expression and anti-commercial attitudes that would empower new wave's independent spirit. Venues like New York's , which opened in December 1973 as a hub for emerging talent, served as incubators for raw, unpolished acts amid the city's bohemian scene. Key transitional groups included the , who formed in 1971 and fused glam's flamboyance with punk's sloppy aggression in their sound, challenging gender norms and rock excess. The MC5's politically charged rawness, rooted in revolutionary rhetoric and high-volume improvisation, further instilled an fervor that shaped new wave's rebellious undertones.

Emergence and Underground Scene (Mid- to Late 1970s)

New wave emerged in the mid- to late 1970s as punk rock's more accessible and eclectic offshoot, initially used interchangeably with punk by critics to describe innovative acts diverging from raw aggression toward melodic and experimental elements. In the United States, the underground scene centered around New York City's CBGB and venues, where bands like (debut album 1977) and Group blended poetry and , while Blondie (formed 1974) and (debut 1977) incorporated pop hooks, rhythms, and quirky aesthetics that defined early new wave. In the , the transition accelerated after the 1976 punk explosion, including the ' notoriety and the 100 Club Punk Festival. Labels like , founded in 1976, played a pivotal role by releasing singles from punk-adjacent acts such as and (debut album 1977), who infused witty lyrics and sophisticated arrangements. DJ championed these sounds through his broadcasts, exposing listeners to bands like , , and (formed 1977), fostering an underground network of clubs and fanzines that emphasized DIY production and cultural critique. By 1978–1979, new wave solidified as distinct from punk's minimalism, with acts experimenting with synthesizers and influences amid growing independent label activity.

Mainstream Peak (Early to Mid-1980s)

The early 1980s marked the commercial zenith of new wave music, as synth-driven tracks surged to dominate international charts between 1980 and 1984. Bands like achieved breakthrough success with their 1981 single "Just Can't Get Enough," which peaked at number 8 on the UK Singles Chart and introduced a catchy, electronic sound to mainstream audiences. Similarly, ' "Sweet Dreams (Are Made of This)" topped the in September 1983, spending four weeks at number 1 and exemplifying the genre's blend of minimalist synth melodies and pop accessibility. Duran Duran's 1982 album Rio further flooded UK airwaves, reaching number 2 on the and spawning hits like "," which underscored new wave's evolution into a glossy, video-friendly phenomenon. This mainstream explosion was propelled by technological and media advancements that democratized electronic production and amplified visual appeal. The launch of on August 1, 1981, prioritized acts with striking imagery, heavily featuring British new wave bands like and , whose elaborate videos aligned perfectly with the channel's 24-hour format and boosted their global visibility. Concurrently, the affordability of synthesizers such as the and , which became widely available in the early , enabled bedroom producers and bands to create sophisticated tracks without major studio resources, solidifying new wave's subgenre of electronic pop. In the UK, new wave acts overwhelmed the charts, with Rio exemplifying the genre's dominance amid a wave of similar releases. Across the US, radio stations adopted "new music" formats that embraced synth-heavy tracks, propelling and others into heavy rotation and crossover success. Building briefly on its underground roots from the late 1970s, this period saw new wave fuse with the New Romantic movement, as seen in Culture Club's androgynous style and hits like "Do You Really Want to Hurt Me" (1982), which blended soulful pop with theatrical visuals to challenge gender norms. However, this peak invited controversies over commercialization and cultural dilution. Critics lambasted the genre's over-saturation, with synth-pop flooding airwaves to the point of overshadowing punk's raw edge, leading to perceptions of new wave as formulaic "yuppie rock" tailored for affluent, upwardly mobile listeners. The New Romantic infusion, while innovative, drew fire for prioritizing fashion and image over substance, as exemplified by Culture Club's flamboyant , which some viewed as commodifying for mass appeal.

Decline (Late 1980s)

By the mid- to late 1980s, new wave experienced a noticeable downturn, primarily due to oversaturation in the market following its mainstream explosion earlier in the decade, which led to genre fragmentation as artists and labels diluted its core punk-influenced edge into broader pop and electronic variants. Commercialization, accelerated by MTV's emphasis on visual spectacle over sonic innovation, further eroded the genre's distinct identity, with many acts prioritizing image-driven hits that blurred boundaries with emerging styles like and . This fragmentation was compounded by a punk revival backlash among underground scenes, which criticized new wave's polished accessibility as a sell-out from punk's raw rebellion, prompting a return to guitar-driven rock that directly challenged synth-heavy sounds. Key events underscored this contraction, including significant band breakups driven by internal tensions; for instance, faced escalating creative disputes after their 1986 album True Stories, with frontman David Byrne's increasing control alienating bandmates , , and , culminating in their final album Naked in 1988 and formal dissolution in 1991. Record labels began shifting investments toward precursors of and , such as early acts, as new wave's commercial viability waned amid these internal fractures. Cultural shifts further hastened the decline, as reduced its new wave programming by 1987 in favor of hair metal and emerging R&B, diminishing the genre's monopoly on youth media exposure. The rise of from Chicago's club scene and hip-hop's mainstream breakthrough diverted electronic production focus, with house's four-on-the-floor rhythms and hip-hop's innovations influencing crossovers that overshadowed synth-pop's "luxury" aesthetic. Lingering economic pressures from the early industry dip of 11% in 1979, amid and adjustments, contributed to cautious label strategies that reduced support for synth-heavy productions perceived as extravagant. Despite the broader fade, some acts lingered with sustained relevance into the 1990s by evolving beyond strict new wave associations; , for example, maintained chart success through albums like Behaviour (1990) and Very (1993), incorporating dance and orchestral elements while retaining synth roots, effectively rebranding as enduring innovators.

Regional and Cultural Contexts

and

New wave music in the emerged prominently from scenes in industrial cities, where local bands adapted punk's energy with electronic experimentation and angular rhythms. In , exemplified this shift with their 1979 debut album , blending stark basslines and haunting vocals into a brooding sound that influenced the darker strains of new wave, often termed , amid the city's economic decline. Similarly, Sheffield's explosion in the late 1970s fostered innovative electronic acts, with transitioning from experimental noise in 1977 to synth-driven compositions by 1980's Travelogue, marking a pivotal move toward accessible new wave rooted in the steel city's gritty . Unique to the UK scene, bands like incorporated tribal rhythms inspired by African drumming patterns, as heard in their 1980 album , which fused with theatrical percussion to create a distinctive export model that achieved international chart success and influenced global new wave aesthetics. This innovation was amplified by cultural institutions like , where DJ played a crucial role in promoting and emerging new wave acts through his sessions, exposing underground bands to national audiences and bridging the gap to mainstream acceptance in the early . Fashion in the UK new wave scene also intertwined with the of the late 1970s and early , as bands adopted sharp suits, slim ties, and scooters, evoking 1960s modernism while updating it with punk edge to define a youthful, style-conscious identity. Across , new wave developed distinct regional flavors, often echoing local traditions while engaging with UK influences. In , the (NDW) movement arose in the late , drawing from krautrock's experimental legacy and to produce energetic, German-language tracks; Nena's 1983 anti-war hit "" exemplified this, blending synths and pop hooks to become a pan-European anthem. In , Indochine emerged in 1981 as a leading new wave act, combining guitar-driven with synth elements in albums like their self-titled debut, laying precursors to later electronic styles such as the French touch through their atmospheric pop-rock that dominated Francophone charts. European festivals further boosted these acts, with Denmark's showcasing new wave performers like New Order and in the mid-1980s, providing platforms for cross-border exposure and solidifying the genre's continental momentum.

United States

In the , new wave music took root in the underground scenes of New York City's East Coast clubs during the mid-1970s, where venues like and served as key incubators for bands blending punk's raw energy with more accessible pop elements. Opened in 1973, provided a gritty platform for emerging acts such as , Blondie, Patti Smith Group, , and the , allowing them to refine their sounds through extended residencies and weekly performances that fostered a creative community. Similarly, hosted overlapping punk and new wave performances by groups like the and , creating an environment that rejected mainstream rock conventions and paved the way for new wave's experimental edge. These clubs were instrumental in transitioning punk's DIY ethos into new wave's broader appeal, influencing American artists to incorporate synthesizers, angular rhythms, and ironic lyrics. A prime example of this East Coast innovation was debut album Q: Are We Not Men? A: We Are Devo! (1978), which rock stardom and societal norms through de-evolutionary themes, robotic performances in yellow jumpsuits, and a deconstructed cover of ' "(I Can't Get No) Satisfaction." Produced by , the album's clunky electronics and sociopolitical commentary—drawing from events like the —exemplified new wave's fusion of art-rock, , and , achieving gold status despite peaking at No. 78 on the . While drawing brief inspiration from punk's irreverence, acts like Devo emphasized futuristic absurdity over direct imports. The 1980s saw new wave explode into the mainstream via college radio, where student-run stations championed "new music" acts overlooked by commercial FM, accelerating the genre's reach from underground to national audiences. In ' Hollywood scene, all-female band captured this shift with their 1981 hit "" from the album Beauty and the Beat, transforming LA's punk roots into bubbly new wave pop that topped the charts and sold over two million copies. Commercial infrastructure bolstered this growth, with —co-founded by —playing a pivotal role by signing and promoting both domestic talents like the Ramones and and distributing UK imports via partnerships like , introducing American listeners to acts such as and . MTV's launch in 1981 further amplified new wave through video synergy, heavily featuring imports like , whose reggae-infused tracks such as "Roxanne" (1978) and "" (1983) dominated early rotations and helped the band sell over 75 million records worldwide. US-specific traits emerged prominently, including a emphasis that prioritized catchy hooks and guitar-driven energy; the Knack's 1979 single ""—from their debut —exemplified this with its relentless riff and sleazy lyrics, topping the and selling six million copies while bridging influences with new wave's modern sheen. Regional hubs like also thrived, with forming in 1976 amid the city's vibrant scene and releasing their self-titled debut in 1978, blending new wave synths with on hits like "," which peaked at No. 27 and established them as American new wave pioneers.

Global Spread Beyond Anglo Regions

New wave music found fertile ground in and during the late 1970s and early 1980s, where local acts adapted the genre's synth-driven aesthetics and quirky pop sensibilities to create a vibrant regional scene distinct from its Anglo origins. In , emerged as a pioneering force, blending with new wave elements in their evolving sound; their 1980 True Colours marked a breakthrough, featuring the hit single "I Got You," which topped charts in both and and introduced a polished, accessible new wave pop style that propelled the band to international recognition. This success helped establish a strong contingent, with bands like and The Features incorporating angular guitars and electronic textures inspired by UK imports, while local hits often localized themes around suburban life and . In , the scene flourished with acts such as Icehouse and The Church, who fused new wave's atmospheric synths and edges into introspective pop-rock; Icehouse's 1981 debut Icehouse exemplified this adaptation, achieving domestic chart success and influencing a wave of bands that challenged the dominant pub rock tradition with more experimental, UK-inflected sounds. Underground labels and venues like Sydney's Inner City Sound further amplified these adaptations, producing compilations that showcased synth-heavy tracks blending local humor and global new wave trends. In , new wave intersected with the burgeoning genre, particularly through the technological innovations of (YMO), whose 1978 self-titled debut introduced synth-heavy, futuristic sounds that prefigured 1980s . YMO's use of electronic instruments and rhythmic precision drew from Western new wave and influences, inspiring a fusion where artists incorporated sleek synth lines and urban themes into polished, danceable tracks. Their impact extended to collaborations, such as singer Akiko Yano's 1982 album Ai ga Nakucha featuring members of the band , which bridged Eastern and Western styles and helped shape 's synth-dominated sound as a precursor to global electronic trends. This hybridization emphasized YMO's role in localizing new wave's tech-savvy edge, with subsequent acts like adopting similar electronic experimentation to create a distinctly Japanese variant focused on melodic precision and cultural . Across , the rock en tu idioma movement in during the early to mid- represented a key adaptation of new wave, as bands shifted from English-language covers to Spanish lyrics while integrating synths and rhythms to address local social realities. Formed in 1983, Botellita de Jerez pioneered this fusion, blending new wave's ironic detachment with Mexican folk elements like and in tracks from their self-titled debut, creating the "guacarrock" style that critiqued consumerism and celebrated regional identity. The movement gained momentum post-1985 earthquake through independent venues and radio stations like Rock 101, with compilations such as 1985's Comrock promoting synth-infused acts like Neón, which brought new wave's energy to City's underground scene. In , the influence of Western pop styles, including synth elements from new wave, was limited in the 1980s, primarily through imported cassettes and radio broadcasts of acts like those in new wave, contributing to early Indi-pop fusions that blended with Bollywood melodies; widespread exposure grew with MTV's arrival in the early 1990s. New wave's global spread faced significant challenges in authoritarian regimes, particularly in , where military dictatorships imposed on rock music's subversive potential, forcing adaptations that localized the genre's rebellious spirit. In , post-1971 Avándaro festival, large rock concerts were effectively banned until the mid-1980s, compelling new wave-influenced bands to perform in clandestine venues and self-censor lyrics to evade state scrutiny. Similar restrictions in countries like and under juntas led to punk and new wave acts facing arrests or exile, as seen with bands that disguised political content in synth-driven tracks to navigate radio blacklists. In , new wave fused with in the late 1970s and early 1980s "punky reggae" style, evident in compilations like 2002's : New Wave Jamaica 1975-1980, where artists such as and incorporated punky rhythms and dub effects into , creating a hybrid that amplified amid political unrest. These adaptations often emphasized rhythmic localization, blending new wave's angularity with indigenous styles to subvert while maintaining the genre's innovative edge.

Legacy and Influence

Impact on Indie and Alternative Rock

New wave's experimental blend of angular guitars, ironic detachment, and eclectic influences laid foundational elements for post-1980s indie rock, particularly through its integration into the college rock scene that bridged underground sounds to broader alternative movements. Bands like the Pixies adopted new wave's quirky, disjointed guitar work and surreal lyrics, evident in their 1988 album Surfer Rosa, which echoed the cerebral pop of new wave acts such as Talking Heads and XTC by prioritizing dynamic shifts and non sequitur storytelling over conventional rock structures. This stylistic carryover helped define indie's emphasis on innovation and outsider aesthetics, as college rock—born from the confluence of new wave, post-punk, and early alternative—fostered bands that rejected mainstream polish in favor of raw expression. In , new wave's influence manifested as a softening of its synthesized sheen into grittier forms, with acts like Nirvana adapting the genre's rhythmic urgency and thematic introspection while amplifying punk-derived aggression to counter excess. and company drew from new wave's experimental ethos, blending it with heavier distortion to create a more visceral sound that propelled alternative into the mainstream, as seen in Nirvana's dynamic quiet-loud structures reminiscent of earlier new wave innovators like and U2. Similarly, Britpop's revival in the UK nodded to new wave's suburban satire, with Blur's 1994 album commodifying the vivid, everyman vignettes of 1970s-1980s acts like , , and Squeeze through cartoonish irony and guitar-driven hooks that critiqued British life with detached wit. The DIY ethos originating in new wave's punk roots persisted into the 1990s indie landscape, exemplified by Seattle's label, which championed self-produced, anti-corporate releases that echoed new wave's independent spirit and rejection of industry norms. This approach sustained new wave's underground vitality, allowing acts to thrive outside major labels and influencing lo-fi's raw production values, where alienation and emotional vulnerability became central lyrical motifs carried over from new wave's anthems. Themes of isolation and societal disconnection, prominent in new wave bands like , resonated in confessional style and lo-fi's minimalist introspection, prioritizing personal narrative over commercial appeal. College radio played a pivotal role in these transmissions, amplifying new wave and in the late 1970s and 1980s before evolving to propel indie and alternative into the 1990s, with stations like those at MIT and Vanderbilt providing platforms for boundary-pushing sounds that shaped the genre's canon. By broadcasting non-commercial acts, college radio preserved new wave's countercultural edge, ensuring its stylistic and thematic elements filtered into the indie mainstream through sustained exposure to emerging artists.

Revivals and Contemporary Echoes

In the late 1990s and early 2000s, new wave elements resurfaced through the movement, which blended 1980s electro, , and new wave aesthetics with 1990s and influences. This subgenre emphasized witty, campy, and punk-inflected sounds, reviving the genre's glamorous and irreverent spirit in underground club scenes. British band exemplified this revival with their 2001 debut album 604, delivering icy synth lines and minimalist beats that echoed new wave's electronic edge while incorporating modern production. Similarly, indie acts like propelled new wave's revival into the mainstream with their 2004 debut , which fused guitars with 1980s new wave synth overlays and anthemic hooks reminiscent of pomp. The 2010s saw further resurgences in subgenres like and , which drew directly from new wave's retro-futuristic synth sounds and lo-fi aesthetics. , emerging in the mid-2000s as an homage to pop , gained prominence with acts like FM-84, whose 2016 Atlas captured emotional, nostalgic retro-futurism through lush analog synths and driving rhythms evoking new wave's cinematic energy. , a that took hold around 2009-2010, evoked late and early pop through hazy, washed-out synths and bedroom-recorded vibes, marking a nostalgic pivot in indie music that extended new wave's dreamy introspection. Streaming platforms amplified these revivals by curating and boosting new wave catalogs, with services like and enabling widespread rediscovery of tracks from bands like and New Order, leading to increased plays among younger audiences. Media-driven nostalgia further echoed new wave in the 2010s, as seen in the Netflix series Stranger Things, which premiered in 2016 and featured a soundtrack blending new wave hooks with ambient synth textures, sparking renewed interest in 1980s electronic music and boosting streams for era-defining tracks. Festivals like Just Like Heaven, launched in 2018, celebrated this legacy by showcasing acts with new wave roots, including synth-influenced indie bands such as Phoenix and MGMT, drawing crowds to relive the genre's vibrant energy through curated lineups. Contemporary hybrids continue new wave's influence, with indie acts like incorporating synth-pop and new wave elements into their sound since their 2012 formation in , as evident in their debut EP Recover featuring bright, hook-driven electronics and experimental edges. In K-pop, the genre's synth elements have been adopted through connections to new wave and , influencing groups like , whose tracks such as those on Map of the Soul: 7 (2020) integrate retro synth layers with modern production for a global appeal. Into the mid-2020s, new wave's echoes persist through annual events like the Just Like Heaven festival, which returned on May 10, 2025, and new releases inspired by the genre, as seen in user-curated lists of top new wave albums of 2025 and playlists highlighting recent and new wave-influenced tracks.

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