That earworm found its way onto a new network called MTV one year later, and the video—which showed the band hadn’t completely abandoned all their eccentricities—pushed Split Enz from cult band to chart-toppers in New Zealand and Australia, and MTV staples in the States.—Mark Lore, Led by their two distinctive—and distinctly different—singer/songwriters, the incurably ironic Robert Forster and the incurably romantic Grant McLennan, Australia’s Go-Betweens were a classic case of a band that was criminally under-appreciated in its time beyond a fiercely loyal cult following. Polyrhythmic, lyrically cryptic and featuring one of the most awesomely weird guitar solos of all time (Adrien Belew’s blippy genius on “Born Under Punches”), Remain in Light stands as David Byrne and company’s masterpiece. And you still hear the influence of songs like “(I’m a) TV Savage” and “Louis Quatorze” on modern indie rock today.—Mark Lore, Today it’s hard to understand how the lightly psychedelic pop-rock of the Soft Boys was ever considered anything close to punk. /etc/php/7.2/fpm/conf.d/30-pdo_sqlsrv.ini, https, ftps, compress.zlib, php, file, glob, data, http, ftp, phar, sqlsrv, zip, tcp, udp, unix, udg, ssl, tls, tlsv1.0, tlsv1.1, tlsv1.2, zlib. This program is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. All Rights Reserved. Buggles were essentially Trevor Horn and Geoffrey Downes, two geeky British musicians who, like Gary Numan, were disciples of bands like Kraftwerk and were dabbling in their own future sounds in the late-’70s. It encompassed pretty much everything that followed the punk movement that still served as an alternative to mainstream pop and rock. For now, however, he was simply content to emulate the legacy of the best Mod gods.—Lee Zimmerman, When Pylon released their debut album, not many outside of Athens, Ga., took notice. Available Formats. And out of all his soundtracks, Pretty in Pink is perhaps the John Hughes-iest, full of New Wave classics worthy of its record store-clerk heroine. Background: The province of British Columbia (BC) has been recognized for successful SARS-CoV-2 control, with surveillance data showing amongst the lowest case and death rates in Canada. /etc/php/7.2/fpm/conf.d/10-pdo.ini, You could hear the sarcasm and confidence in her voice on songs like “Pussy Strut” and the title track, with the always killer line: “What’s a girl to do? As synthetic sounds came to dominate the airwaves, producers all toyed with the same tricks, giving songs a shorter shelf life. All Mod Cons, the Jam’s third album, was fraught with uncertainty, despite the fact that its young wunderkind was already earning kudos as the once and future Modfather. After flirtations with film, drugs and even Jagger himself, Faithfull disappeared for a decade, reinventing herself as a smoky-throated chanteuse on 1979’s New Wave gem, Broken English. Their disparate sonics coalesced like few other ensembles in 1983, short of non-Western masters like King Sunny Adé’s African Beats, who wasn’t lost on them—“Walking in Your Footsteps” reins in Nigerian polyrhythms just after the opener reestablishes their New Wave bona fides. Here are the 50 best New Wave albums of all time. “I Wanna Destroy You” and “Queen of Eyes,” especially, should be radio staples.—Garrett Martin, “Video Killed the Radio Star” ushered in a new era in music when it debuted on MTV at 12:01 a.m., Aug. 1, 1981. /etc/php/7.2/fpm/conf.d/20-sysvmsg.ini, It came together on 1980’s Juju, a dark concept record that ditched electronic sounds for McGeoch’s foreboding guitars. Power, Corruption and Lies is filled with themes of loneliness, anger and loves lost; it’s easy to see how New Order has influenced everyone from The Smiths to M83. As the 1980s came to a close, this was the perfect ending to New Wave’s moment in the sun.—Bonnie Stiernberg, “There’s a brand new talk,” David Bowie sings on Scary Monsters’s “Fashion,” “but I don’t know its name.” That sense of being slightly disconnected from the punk crowd of the late ’70s and the nascent New Wave scene echoes throughout the album. Kings of the Wild Frontier refined the sound of the band’s debut Dirk Wears White Socks, introducing Burundi beats and a slicker guitar sound from Marco Pirroni on songs like “Antmusic” and “Dog Eat Dog.” To this day it simply sounds like nothing else.—Mark Lore, For most people, Scottish band Orange Juice was a one-hit wonder known for the UK Top 10 song “Rip It Up,” which was one of their most keyboard-driven New Wave-y tunes. Sondre Lerche may be today’s hot Norwegian artist, but thirty years ago it was all about a-Ha.—Annie Black, I think I was 16 when I realized Devo wasn’t a jokey one-hit wonder but one of the greatest rock bands of all time. This record changed all that, both commercially and stylistically. Poppy enough to feel like candy; weighty enough to leave a deliciously painful knot in your gut after “The Day The World Turned Day-Glo” grinds to a halt.—Robert Ham, Adam and his Ants were perhaps known as much for their look as they were their music. Previously active authors, editors and other contributors are listed in the manual. /etc/php/7.2/fpm/conf.d/20-intl.ini, /etc/php/7.2/fpm/conf.d/20-sysvshm.ini, Underwater Moonlight sounds like the best bar band in the world playing hits from a world that’s better than our own. Whatever your preferred tag, one thing is clear: In the 20-plus years since its 1988 release, there’s never been another album quite like Talk Talk’s infamous masterpiece, Spirit of Eden. The band’s proggier elements were replaced by more streamlined pop songs that were heavily influenced by early-Beatles and the burgeoning New Wave scene, most notably in songs like “Shark Attack” and the psychedelic synth instrumental “Double Happy.” Young Neil Finn, recruited by his brother Tim for their previous record Frenzy, also upped his songwriting game, most notably on Split Enz’s breakthrough single “I Got You,” which stands as one of the best New Wave pop songs to this day. Cleverly chaotic, the album capitalizes on the rolling blankets of warmth that soon follow an ocean rain.—Kristen Blanton, With Skylarking, XTC succeeded in creating an album that sounds squarely out of time. Go on - show your age! Clever, infectious, with genuine emotion lying just below the surface—it’s everything a great New Wave record should be.—Bonnie Stiernberg, Elvis Costello had already made a splash with My Aim Is True, but the addition of his own band makes an immediate impact, as the rhythm section of Bruce Thomas and Pete Thomas launch right into “No Action,” colored with organ from Steve Nieve, who’d added so much to “Watching the Detectives.” Songs like “Pump It Up” and “Radio, Radio” are as energetic as anything in his catalog. Unless you’re a real New Wave fan, it’s not likely you will recognize the remainder of this album, but it’s layered with both bursts of high energy and heart-wrenching slowburners. And between all the sounds of summer splendor and rainy day ballets, they even managed to spawn a surprise hit with atheist anthem “Dear God” in the process. Songs like “Letter From Hiro” and the brilliant “Sixty Second Interval” deal with the casualties of war, showing that there was far more to frontman David Fenton’s songs than just a pretty melody.—Mark Lore, While many of their 2-Tone Records contemporaries like The Specials and Madness took pains to cover classic ska sides to establish their bona fides, The English Beat took a different tack, embracing easy listening schmaltz with the same fervor as the reggae artists that inspired them. We used to call it New Wave, but now it’s just a lovely template.—Luke Winkie, The debut from Joe Jackson ranks right up there with early records from another brainy, pissed-off songwriter called Elvis Costello, bursting with frustration and spazzy pop songs. Immediately Peter Hook’s bass on album opener “Age of Consent” sounds like JD’s “Transmission,” yet it hides its melancholy deeper down, under the sound of keyboards and bouncy guitars. /etc/php/7.2/fpm/conf.d/20-exif.ini, Not Costello’s greatest work, but a landmark, highly influential first album.—Mark Baker. Whether pilfered directly from the Nerves (the breathless “Hanging on the Telephone” takes no prisoners) or stitched together, nursery rhyme-like from Buddy Holly’s “Everyday” (few melodies jangle so timelessly as “Sunday Girl” ), Debbie Harry and Chris Stein’s shrewd, sexy melodicism on these 12 classics clawed its way into the pantheon from the simple ambition to conquer any radio format they touched.

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