Bridging The Gap: Synthwave VS Popwave VS Synthpop
Written by Thorisson
I want to address two topics within this article: the often discussed topic of synthwave and synthpop being two separate entities, and the ever-increasing claims of all synthwave music starting to sound the same.
If synthwave is truly to grow, we must celebrate innovation. As a collective, it is our duty to aid the scene’s growth, and not deprive it of the very thing that has sustained it over the years; evolution. The truth is that if all retrowave artists were still creating the same style of music that characterised the genre in the mid-to-late 2000s, it is safe to assume that most would have lost all interest by now. Instead, artists experimented and ventured into new areas, creating a host of sub-genres that quickly made their way into the heart of the scene—Popwave, darksynth and spacewave to name a few.
But are these genres where our openness to innovation stops?
“This isn’t synthwave” is a term I see thrown out quite often. But who are we to question musicians’ intentions and inspirations? We should be encouraging the artists that explore, but instead they are often overlooked. I have seen attempts to disprove the links between synthwave and synthpop, citing a difference in inspiration. And while the argument that synthpop is its own separate genre that has existed since the 70s holds true, a prominent arm—heavily influenced by Synthpop as it was known in the 80s—can be found in a large portion of today’s synthpop releases.
This is where a lot of similarities between synthwave and synthpop can be found; a shared love of 80s music. It is, in my opinion, not a valid argument to state that synthwave’s foundation is not supported by an affection with 80s synthesizers and the overall feel of the decade. The synths utilised and the visuals used are all heavily influenced by the 80s. It is hard to ignore the same influences found in songs like Essy’s Cry For Me and Dagny’s Somebody. What makes synthwave special is that it’s not defined by a tempo, or a particular sound, but by its retro character which can take many forms. The fact that an artist has predominantly been classified as a pop musician does not give us the right to deny their music as belonging to the synthwave realm. I hear countless electro and synth pop artists creating authentic synthwave experiences, yet they get overlooked because of our unwillingness to allow the the genre to expand and merge with other contemporary genres.
The likes of The Chainsmokers, Zedd and David Guetta—predominantly EDM classified outfits—played a big role in bridging the gap between EDM and pop music during last decade’s early years. Today, it is hard to place a specific label on whether a song constitutes as EDM or pop. Indeed, the most popular genres undergo constant changes; this is by no means a new phenomenon. Such is the way of the music industry. It is impossible to cling onto the same exact style and expect people’s interest to remain throughout.
By the same token, it is not hard to imagine a song falling into both the synthpop and synthwave categories. Dua Lipa, CHVRCHES and, perhaps most famously, The Weeknd, have successfully sculpted commercial pop songs with a retro character that one would not hesitate to call synthwave if the artists’ names were not taken into account. Granted, these are high profile artists for whom it would be an anomaly to see interacting with somewhat of an underground scene. But surely we cannot base an artists’ belongingness solely on their level of interaction with its existing artists and fans. And while it would be unrealistic to expect these artists to be active members of the synthwave community, it does not mean that their music is not a part of the scene.
We would not deny W O L F C L U B, Parallels or Jessie Frye of the synthwave label despite their heavily pop-inspired productions. Indeed, these are all artists that have described their own music as synthpop. So what’s causing us to deny other artists of the synthwave label? Essy, Isle of You and Hanne Mjøen, for example, all have distinctive retro influences in their music, yet many would laugh off the very mention of these artists in a synthwave discussion. Digging deeper, it is evident that synthpop, popwave and synthwave go hand in hand on multiple artists’ Bandcamp releases, yet we continuously attempt to divide these genres. Of course not all synthpop can be classified as synthwave, and not all synthwave falls into the synthpop category. But that does not deny the obvious connection between the two genres.
Hanne Mjøen and Jessie Frye: are their respective music styles really that far apart?
It’s in our nature to keep seeking what we already know. Rarely do we venture outside of our comfort zones but each time we do, we realise that there is more to life than what we knew before. Now I’m not saying that synthwave IS life, but rather that there is more to synthwave than a DeLorean driving on a neon grid with a rolling dx7 bassline playing under it. The truth is, if you’re only looking to find the classic synthwave sound then chances are you’re going to hear a lot of repetition. It could be said that synthwave is a by-product of house music, but it doesn’t quite fall into that umbrella. It has evolved into a music genre in its own respect. And as is the case with all music genres, it grows and changes overtime.
It is reasonable to call for that change, and it is reasonable to expect things to remain just the way they are, if that is what you’re content with. But one thing we cannot do is to call for a change, while simultaneously refusing to acknowledge the change happening before our very eyes. You wouldn’t drink the same lager beer every week and then blame the beer for not changing in taste. Instead, you’d go out and try an IPA or a stout—both of which are different kinds of beers; subgenres of beer, if you will.
As mentioned above, many have objected the notion of placing Synthwave and Synthpop under the same umbrella, citing the confusion that could bring listeners. But on the flip side, this way of thinking can, and perhaps has led us to pigeonholing artists, labels, and, indeed, music styles. Where do we draw the line between synthwave and synthpop if that line is becoming increasingly narrower? In truth, there is no simple answer. A division in opinions is proving to be somewhat of an obstacle in reaching a solid answer as to what exactly constitutes a synthwave track, and what characterises a synthpop track.
Perhaps a lack of distinction in the word “synthpop” plays the role of a culprit; the genre in itself has multiple variations. The term “nu synthpop”, however not often used, offers a possible solution to this. Nu synthpop is a sub-label I encountered someone using to describe the influx of modern synthpop songs with an 80s influence, and I believe this is a term that can be integrated into the synthwave discussion, as we continue to see more artists joining the nostalgia-infused music movement.
We cannot live in the same period forever. We must evolve, we must innovate, and we must welcome change with open arms, as opposed to questioning whether it belongs to our beloved genre. We can co-exist in the same space regardless of everyone’s music tastes being slightly different. The similarities far outweigh the differences, and I believe genres that are built on the same foundation have no business being separated simply because of the names of their respective creators. Synthwave and nu synthpop can co-exist within the realm of nostalgia-flavoured music that we all love, but only if we open our minds to it. The genre is only as big or as narrow as we allow it to be.
Check out this playlist here to discover some of my favourite nu synthpop tracks at the moment!