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New podcast: Terre Thaemlitz celebrates techno-pop

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New podcast: INTERRUPTIONS #12 Lost Techno-Pop Weekend in Rural Midwestern America, curated by Terre Thaemlitz


A deliberate attempt to vindicate techno-pop as one of the most important genres of the last century.





By the time mainstream pop music really became electronically based in terms of synthesizer/sampler instrumentation and editing (first with R&B and hip-hop, then mainstream pop), the techno-pop synth sound would be utterly abandoned by both pop and underground electronic cultures (techno, house, etc.). In this sense, techno-pop constitutes an isolated and rarely discussed 'lost weekend' from standard pop practices. Techno-pop is most often dismissed as a shade of new romanticism, punk or electro. However, I believe its strict emphasis on electronics and critical rejection of rock culture (at least in the beginning) make techno-pop in and of itself one of the most important, albeit short-lived, genres of the last century. Then again, my views are admittedly warped by an upbringing in the rural Midwestern US, where electronic music was not only scarce, but phobically abhored by most people. Terre Thaemlitz, 2013



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Looking at the track listing this looks to be the most accessible RWM podcast to date - definitely gonna have to check this one out !

 

For those too lazy to check out the PDF -

 

 

Soft Cell, ‘Persuasion’ (Some Bizzare, 1981)

Jobs for America, ‘Jobs for America’ (Thermidor, 1982)

Guernica, ‘Koujo Kengaku’ (Yen Records, 1982)

Daniel Amos, ‘(It’s the Eighties So Where’s Our) Rocket Packs’ (Refuge Records,

1984)

Bronski Beat, ‘It Ain’t Necessarily So’ (Forbidden Fruit, 1984)

Haruomi Hosono/Tadanori Yokoo, ‘Hotel Malabar Upper Floor …Moving

Triangle…’ (King Records, 1978)

Yello, ‘Assistant’s Cry’ (Ralph Records, 1980)

Yello, ‘Bostich’ (Ralph Records, 1980)

The Beatniks, ‘Ark Diamant’ (VAP Inc., 1981)

Severed Heads, ‘Dead Eyes Opened’ (Ink Records, 1983)

Men without Hats, ‘Freeways (Euromix)’ (Statik Records, 1983)

Kraftwerk, ‘Tanzmusik’ (Philips, 1973)

The Human League, ‘I Am the Law’ (Virgin, 1981)

Bill Nelson, ‘Hard Facts from the Fiction Department’ (Cocteau Records, 1984)

Manhattan Transfer, ‘Coo Coo U’ (Atlantic, 1980)

Krisma, ‘I’m Not in Love’ (Atlantic, 1983)

John Foxx, ‘Metal Beat’ (Metal Beat, 1981)

Depeche Mode, ‘Pipeline’ (Mute, 1983)

Visage, ‘In the Year 2525’ (Polydor, 1983)

Freur, ‘Steam Machine’ (Epic, 1983)

Sylvester, ‘I Need Somebody to Love Tonight’ (Fantasy, 1979)

Ryuichi Sakamoto, ‘Milan, 1909’ (Midi Inc., 1986)

Ryuichi Sakamoto, ‘Variety Show’ (Midi Inc., 1986)

Devo, ‘Through Being Cool’ (Warner Bros. Records, 1981)

Telex, ‘A/B’ (Sire, 1980)

Ministry, ‘She’s Got a Cause’ (Arista, 1983)

Orchestral Manoeuvres in the Dark, ‘The Beginning and the End’ (Dindisc, 1981)

Hajime Tachibana, ‘Rock’ (Yen Records, 1984/1985)

Hajime Tachibana, ‘Rock (New Version)’ (Yen Records, 1984/1985)

Gary Numan, ‘Metal’ (Beggars Banquet, 1979)

 

 

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Guest abracadabra

thank you

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Cool. Thanks for sharing!

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Nice job! Well done on the tracklist - it's a thoughtful thesis. I never considered it myself until now, but the far more "renowned" early synthpop of the time (YMO or Art of Noise as examples) so often had a connection to another genre, as if the electronic instruments were another palette and not so much a core feature of the music itself.

Edited by joshuatx

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Check this one we are working on: http://rwm.macba.cat/uploads/20130626/13Interruptions_eng.0.pdf

 

:-)

 

 

 

 

 

 

Looking at the track listing this looks to be the most accessible RWM podcast to date - definitely gonna have to check this one out !

For those too lazy to check out the PDF -


Soft Cell, ‘Persuasion’ (Some Bizzare, 1981)
Jobs for America, ‘Jobs for America’ (Thermidor, 1982)
Guernica, ‘Koujo Kengaku’ (Yen Records, 1982)
Daniel Amos, ‘(It’s the Eighties So Where’s Our) Rocket Packs’ (Refuge Records,
1984)
Bronski Beat, ‘It Ain’t Necessarily So’ (Forbidden Fruit, 1984)
Haruomi Hosono/Tadanori Yokoo, ‘Hotel Malabar Upper Floor …Moving
Triangle…’ (King Records, 1978)
Yello, ‘Assistant’s Cry’ (Ralph Records, 1980)
Yello, ‘Bostich’ (Ralph Records, 1980)
The Beatniks, ‘Ark Diamant’ (VAP Inc., 1981)
Severed Heads, ‘Dead Eyes Opened’ (Ink Records, 1983)
Men without Hats, ‘Freeways (Euromix)’ (Statik Records, 1983)
Kraftwerk, ‘Tanzmusik’ (Philips, 1973)
The Human League, ‘I Am the Law’ (Virgin, 1981)
Bill Nelson, ‘Hard Facts from the Fiction Department’ (Cocteau Records, 1984)
Manhattan Transfer, ‘Coo Coo U’ (Atlantic, 1980)
Krisma, ‘I’m Not in Love’ (Atlantic, 1983)
John Foxx, ‘Metal Beat’ (Metal Beat, 1981)
Depeche Mode, ‘Pipeline’ (Mute, 1983)
Visage, ‘In the Year 2525’ (Polydor, 1983)
Freur, ‘Steam Machine’ (Epic, 1983)
Sylvester, ‘I Need Somebody to Love Tonight’ (Fantasy, 1979)
Ryuichi Sakamoto, ‘Milan, 1909’ (Midi Inc., 1986)
Ryuichi Sakamoto, ‘Variety Show’ (Midi Inc., 1986)
Devo, ‘Through Being Cool’ (Warner Bros. Records, 1981)
Telex, ‘A/B’ (Sire, 1980)
Ministry, ‘She’s Got a Cause’ (Arista, 1983)
Orchestral Manoeuvres in the Dark, ‘The Beginning and the End’ (Dindisc, 1981)
Hajime Tachibana, ‘Rock’ (Yen Records, 1984/1985)
Hajime Tachibana, ‘Rock (New Version)’ (Yen Records, 1984/1985)
Gary Numan, ‘Metal’ (Beggars Banquet, 1979)

 

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