Synthember 24: and were now back on schedule. 1983 was not a good year for synths, Certainly for British bands. This was the period typified by Come on Eileen, which came out in the middle of the previous year. The whole sci-fi dystopia and alienation had been played out. The ultimate product of the New Romantics had not been club-owner Steve Strange, but his doorman Boy George. The charts had been politicised for some years, perhaps because Mrs T was untouchable any other way and synths seemed to belong to the forces of reaction. Ultravoxs designs for Rage In Eden harked back to the 1940s and their following work was not organic, with architecture as its motif. The Left saw synths as institutional and acoustic instruments came in as a backlash. The irony was that digital recording was taking over in the studio and sampling, thanks to the Fairlight was about to take over. The question has to be asked, what is synth, and what isnt in the digital age? However. We heard the influence of synths on Donna Summer. This next track shows them getting funky, but without being crass. Shalamar were breaking very new ground here, being more synth than groove. youtube/watch?v=cfaPmaG0Yx8
Posted on: Mon, 24 Nov 2014 09:54:50 +0000
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