Towards the end of the 70s, there was a change in the air. For a decade now, rock music was becoming ever more progressive and experimental. The social emancipation and rise of recreational drug use as expressed in The Summer of Love had infiltrated music and mainstream culture in general.
In the latter half of the 60s, musicians had become dissatisfied with apparently stifling pop-song conventions, such as under-3-minute running time or the verse-bridge-chorus form. An interesting parallel took place in cinema – many film directors were also feeling their artistic expression was being hindered by moral censorship as expressed in the Motion Picture Production Code, and they eventually led to its demise.
So the 70s were full of progressive or psychedelic rock bands, concept albums, 20-minute guitar solos as well as pretentious subject matter. The silver screen reflected this zeitgeist of self-indulgence and artsy-fartsyness, with directors beginning to rival film stars in celebrity status. Back in the world of music, certain subcultures such as disco continued music production along more traditional lines unabated.
Not that this explosion of expressionism was all for the worse; the 70s produced a lot of great music and art, often because of – and not despite – their solipsism. The most important thing to consider, though, is that this period of excess had to happen before a synthesis of new and old ways could emerge. This synthesis was the 1980s New Wave. Having gone through the looking glass and reached aesthetic bankruptcy, the popular music world was looking for a way back home like a prodigal son…
Even though the synthesizer was gaining prominence at this time, the synthpop that emerged with its help has been called ”perhaps the single most significant event in melodic music since Mersey-beat”. So while reaching for a cutting edge, futuristic instrument, musicians were increasingly looking back to traditional, time-honored songwriting and melodies as if in counter-revolt to the iconoclastic bohemianism before them. This Hegelian perspective effectively makes the term “synthpop” a double entendre.
Of course, not all of the 80s was about synth pads and electro beats (although synthesizer and drum machines are no doubt iconic symbols of the decade). The prevailing feeling was of fun and flamboyance instead of the serious introspection and self-conscious intellectualism that had become so commonplace. Suddenly it was ok again to make 3-minute pop songs about love or dancing… with admittedly novel quirks such as sci-fi motifs and anaemic (almost robotic) performance styles. At the same time, the new wave often betrayed the geopolitical tension of the times; the spectre of nuclear war permeating a lot of professional creative activity.
So the return to good old, formulaic, crowd-pleasing songs and melodies after the cultural rebellion of the 60s and 70s was inevitable. It reinvigorated music and introduced the world to the sound of the future.