"SOMETHING ABOUT YOU" LEVEL 42 (1985)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

1985 was an absolute banner year for music. Hounds of Love. Brothers in Arms. The Head on the Door. Songs From the Big Chair. Hunting High and Low. No Jacket Required. Psychocandy. Rain Dogs. Meat is Murder. And the list goes on. For a junior high school kid like me, it was a dream. It’s safe to say that my early love for music was significantly shaped by the albums and songs of 1985. Level 42 also made some noise during the same year. They did it with the ubiquitous single, “Something About You”.

Look, I know there’s a pretty sweet guitar solo at the end of the song, but “Something About You” is all about the synthesizers. It’s a synth pop song with some juicy keyboard bits and that badass bass line. The synthesizer hooks us in early, and then uses minimal flourishes to keep things going. But the song is all about the vocals and melody. Maybe this is the greatest compliment I can give this eighties anthem: It’s a song you want to sing along to over and over again.

“Is it so wrong to be human after all?”

"I BEG YOUR PARDON" KON KAN (1989)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

The late 80s were an unusual moment in music history. New alt rock forms were birthed, including the beginnings of some of the most influential rock bands: Jane’s Addiction, Smashing Pumpkins, and the Pixies, just to name a few. The latter is often credited with igniting the grunge era. A little, unknown band called Radiohead also got its start during this time. But what made the late 80’s even more unusual was this really late resurgence of synth pop making its way onto the airwaves — through outfits like When in Rome, Anything Box and Kon Kan. “I Beg Your Pardon” is one of the beautiful by-products of this era.

Let’s be honest. This song was immediately addictive, but by the thousandth listen we were all just about ready to give it up. It starts with a phone ring, as if signaling it’s coming to us with an important message. But the message wasn’t important. “I Beg Your Pardon” was simply a fun, almost meaningless little fling. The beats and synth hooks sounded like a blend between Pet Shop Boys and Anything Box. But then it took samples and weaved them in effortlessly into the melody. At times it was hard to tell what was the sample and what was original. Decades later, “I Beg Your Pardon” hasn’t aged nearly quite as well as some of its synth pop peers, but it remains a prime example of pure, fun nostalgic pop.

“I know now's the time that I went to find something new. You know it's your crime that I'm out to find someone, too.”

"WHAT'S ON YOUR MIND (PURE ENERGY)" INFORMATION SOCIETY (1988)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

I wrote earlier about the synth pop resurgence at the tail end of the 80’s. When In Rome. Anything Box. Kon Kan. Information Society. Each of these bands managed to squeeze in one major synth pop hit. And the latter hit it big with “What’s On Your Mind (Pure Energy)” on just about every chart – modern rock, dance, and even the Top 100. I was in high school when this song came out. And I can attest, it was everywhere.

“What’s On Your Mind (Pure Energy)” was the soundtrack of keg parties and pep rallies. It was universally loved by pretty much everyone. And despite being played to death on radio, it had a resilience about it. I didn’t dread it popping up on the radio again as I should have after the thousandth listen. The drum machine. The sputtering synth. The irresistible vocals. Thinking about those verses and chorus right now. I might need to add it to my karaoke repertoire.

“Here I am in silence it's a game I have to play. You and I in silence with nothing else to say.”

"LIKE TO GET TO KNOW YOU WELL" HOWARD JONES (1985)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

I got a lot of mileage out of my Dream Into Action cassette. The album set off a wave of synth pop hits that were a bit more contemplative than the average musical fare and still managed to reach the mainstream, including “No One Is To Blame”, “Life In One Day” and “Things Can Only Get Better”. It was Howard Jones in peak form, which coincided perfectly with the height of the 80’s synth pop era. The lesser known single, “Like To Get To Know You Well”, didn’t fare well in the States, but it was my favorite track of the bunch. On the surface, the song title sounds like it’s setting us up for a romance-fueled confession. But it’s so much more than that.

The single version of the song was released during the 1984 Olympic Games. On the sleeve of this release, HoJo wrote that the song was dedicated to the original spirit of the Olympics. The song is actually about unity. About stripping away barriers and becoming one. Nearly 40 years later, this 80’s gem has even more meaning in the current climate where people don’t have much interest in really getting to know each other. Making stereotypical assumptions of one another or keeping a safe distance from one another seem to be the order of the day. Well, this little new wave song begs to differ.

“Leave the things that separate. Build on a trust that we must stand on.”

"SEASONS (WAITING ON YOU)" FUTURE ISLANDS (2014)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

How many bands sing and play with all their soul? How many bands put everything they have into the music because it’s all they got and it’s all they live for? Probably not many. Future Islands is one of them. They’re proof that synthesizers still have soul. Proof that you don’t have to act like or look like a rock band to make some noise in this industry. And if you absolutely love what you do, you can make people love it, too. “Seasons” is strangely contagious and utterly ambitious. Hands down, one of the best songs from the last 10 years – and it all starts with the lyrics.

Future Islands’ performance of “Seasons” on the David Letterman show was probably one of the best musical performances on a late night talk show in history. You could feel the passion for the music. And if there’s no passion then really what’s the point? The synth notes glide in and out like they’re pressing buttons on our soul. Meanwhile, I can’t say enough about Samuel Herring’s vocals on this one. There’s just nothing else like it.

“Seasons change, and I tried hard just to soften you. The seasons change, but I've grown tired of tryin' to change for you.”

"WISHING (IF I HAD A PHOTOGRAPH OF YOU)" A FLOCK OF SEAGULLS (1983)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

In the U.S., A Flock Of Seagulls were more or less relegated to one-hit wonder status. They were mainly talked about for the Jetson wavve-inspired haircut. But thankfully MTV and alt rock stations in the States let another track through the cracks for us music fans. The track “Wishing (If I Had A Photograph Of You)” has earned synth pop anthem status – more so than “I Ran”. Here’s why.

While “I Ran”’s best moments are dominated by the electric guitar, there’s no arguing that “Wishing” is all about the synth notes. The guitar plays a complementary role, placing accents that supplement the synth barrage evident throughout the track. “Wishing” also has that iconic synth arpeggio riff, one of the most unforgettable keyboard hooks of the decade – along with that enthralling Joy Division-inspired percussion. It’s hard to think of a more clearer expression of 80’s synth pop.

“If I had a photograph of you, It's something to remind me I wouldn't spend my life just wishing.”

"THERE MUST BE AN ANGEL" EURYTHMICS (1985)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

One of the most talented and versatile voices of our time is Annie Lennox. Throughout her time with the Eurythmics, her vocals spanned all kinds of genres, including rock, new wave, motown and soul. VH-1 once went so far as to name her "The Greatest White Soul Singer Alive”. A natural contralto, Lennox pushed up to the upper octaves with this falsetto that seemed to come down from heaven. She made good singers seem mediocre, most evident in vocal range-stretching tracks like “There Must Be An Angel”.

Be Yourself Tonight, as a full body of work, was quite different from the earlier Eurythmics synth-heavy aesthetic. It had much more rock, much more soul, even some Motown. I liked those songs, but “There Must Be An Angel” is still my favorite track off the album because of Dave Stewart’s production mastery and synth hooks. A second movement to the song begins about halfway through the track with this soul-infused approach that culminates in a mind blowing harmonica solo by Stevie Wonder.

“This must be a strange deception. By celestial intervention. Leaving me the recollection. Of your Heavenly connection.”

"YOU SURROUND ME" ERASURE (1989)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

It would be sacrilegious to celebrate the genre of synth pop without uttering these two syllables: Vince Clarke. A pioneer. A journeyman. A musical genius who’s more than content to stay in the background. Any genre would be thrilled to have someone like this. He got Depeche Mode off the ground – and to this day “Just Can’t Get Enough” is a setlist staple more than 40 years after it was released. He went all in with a fast, dance-oriented brand of synth pop, pairing up with Alison Moyet. But my favorite era of Vince Clarke’s career is the first decade of Erasure with Andy Bell.

“You Surround Me” is a prime example of the duo’s ability to slow things down, while still illiciing a strong, unforgettable angular sound. The song is built around Clarke’s synth arrangements, an epic melody, and Bell’s baritone vocals. “You Surround Me” is enveloping. A refreshing departure on an album packed with faster tempo tracks like “Drama!” and “Star” and the mid-tempo anthem “Blue Savannah”. But thematically tied closely together with the shimmery synth sounds of Wild!

“If love wasn't here would we reinvent it?”

"GETTING AWAY WITH IT" ELECTRONIC (1991)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

I recently gained new perspective on the forming of supergroup Electronic from Peter Hook’s New Order memoir, Substance. It’s clear that New Order’s sound was becoming more and more synth-driven. What I didn’t realize was how significant the musical and personal tensions were between Barney and Hooky. Through this new lens, Electronic seems almost like a rebound fling. Barney escaping to pursue more of what he wants with the synths – and Johnny Marr fresh off the heels of The Smiths breakup. There is beauty in the chaos though, right? “Getting Away With It” is a perfect example.

Johnny Marr is playing guitars on this one, but the majority of the album’s focus is on the synthesizers. Electronic is the name of the band, after all. “Getting Away With It” was like a breath of fresh air on my beloved radio station WDRE. I listened to it incessantly, Barney’s vocals were as good as they’ve ever been. The melody fit his everyday tone perfectly. Neil Tenant’s distinct backing vocals were like the icing on the cake. And let’s not forget the synth riffs, one of Barney’s more underrated skills as a band member – whether he’s the frontman or co-leading.

“However I look, it's clear to see That I love you more than you love me.”

"EVERYTHING COUNTS" DEPECHE MODE (1983)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

It wasn’t until 1986’s Black Celebration that Depeche Mode truly cemented their dark, ominous brand of synth pop. It’s the era that I gravitate toward the most – and it’s the start of the band’s imperial phase. The rest of the catalog preceding it was a little spotty in my opinion. But that doesn’t take away the fact that there were some real gems in the early days, including the standout single from Construction Time Again: “Everything Counts”. Aside from “Just Can’t Get Enough”, “Everything Counts” is really the only song that still remains on the band’s setlists. That’s a full 40 years after it was released as a single.

As one of the standouts on the album, “Everything Counts” showcased the iconic persona of Depeche Mode: hook-laden, danceable, infectious, and, often at times, dark. Written by Martin Gore, the song went on the offensive, calling out corporate greed with a somewhat satircal approach. The bass synth part is utterly sinister, lurking with precision from beginning to end. Wilder’s synth hook – sometimes played on a xylophone – sounds like a music toy possessed by an evil spirit, which is flanked by quirky instruments that go beyond DM’s typical keyboard decks, including a melodica. Then there’s Gahan. With his signature bass vocals, Gahan is the narrator and antithesis of Gordon Gekko.

“The grabbing hands, grab all they can.”

"THE GREAT COMMANDMENT" CAMOUFLAGE (1988)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Synth pop, if you’re just going by its name, sounds like a genre that lacks edge. On the surface, it might be easy to dismiss it as a genre not worth paying much attention to. But fans know why it’s not just a great genre, it can be mindblowing when done right. Well, Camouflage got it right with their late eighties alt rock station darling and dance floor anthem, “The Great Commandment”.

“The Great Commandment” has that infectious, driving hook that makes it dance floor-ready. But it also has that dark, edgy side to it. It starts with the intro synth hook before launching into the second synth hook – the song’s trademark riff. They don’t sound like Depeche Mode. But they do borrow from the formula that has worked so well for DM – with its ominous synth arrangements. And lead singer Marcus Meyn even sounds eerily similar to David Gahan.

“The great commandment shows the contempt Between the world and their embarrassing pavement.”

"VIDEO KILLED THE RADIO STAR" THE BUGGLES (1980)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

Occasionally, songs have the power to become more than just songs. They have the ability to become cultural icons, representing a moment or even an era in time. This is no easy feat. But it’s what I love most about music. That it can transcend the music notes. If you were to think of the one song that captured the dual advent of MTV and new wave, you would be hard pressed to find a better example than this Buggles anthem.

Thematically, “Video Killed The Radio Star” was the perfect poster child for the invasion of MTV on cable television. The song represented a seismic shift in music listening – from radio to television. The Buggles were prophets, predicting this video thing becoming more than just a thing. Of course, it helped that the song itself was incredibly catchy. Aside from that unforgettable melody, it’s the synthesizer that really stands out - the instrument behind not just one or two iconic riffs in the song, but several.

“Video killed the radio star. Pictures came and broke your heart.”

"LIVING IN OBLIVION" ANYTHING BOX (1990)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

By the late 80’s and even early 90’s, a late resurgence of synth pop made its way onto the radio waves – led by a handful of bands, including Information Society, When In Rome, Kon Kan and Anything Box. This “newer” wave felt like it was fashionably late, and didn’t feel over-ripe by any means. The resurgence stubbornly and unapologetically clashed with the guitar-driven grunge era. And one of the era’s best outputs was “Living In Oblivion” by Anything Box.

Anything Box sounded like a bright, upbeat strand of Brith synth pop, but the band got their start in New Jersey – a region that benefited from several college and alt rock radio stations that made synth pop an everyday staple. The best part of the dance-oriented “Living In Oblivion” is the melody, but the synthesizers and drum machine (love that iconic drum fill and cowbell) do their part to drive the song forward on the dance floor.

“You can’t hide the pain, I can see it scrawled on your empty face.”

"MY GIRLS" ANIMAL COLLECTIVE (2009)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

For several decades, various bands have often been compared to the creme de la creme. Are you progressive enough like early Floyd? Can you combine various genres like Hendrix? Can you write melodies and experiment instrumentally like The Beach Boys? The latter comparison seems to be one of the most common ones. Seems like the minute Pet Sounds was released, critics wanted to see who could match it or even exceed it. Merriweather Post Pavilion certainly has earned a right to be in those discussions. It’s like a modern-day Pet Sounds and “My Girls” is Animal Collective’s own “That’s Not Me”.

The song opens with an audio sample from the Cassini-Hyugens spacecraft which explored Saturn, its rings and its moons. From there, the iconic and mesmerizing synth hook trickles in like a waterfall. The percussion elements are sparse, but powerful with every hit. The primary strength of “My Girls” is undoubtedly the vocals. The verses are sung in rounds. The buildup into the chorus features these background falsetto blips. And the chorus is anchored by Panda Bear and Avey Tare’s harmonies. A song about family and settling down, “My Girls” is experimental to the bone, as evident in its instrumentation, vocals and song structure. It is truly deserving of the lofty Pet Sounds comparisons it drew.

“I JUST WANT FOUR WALLS AND ADOBE SLABS FOR MY GIRLS.”

"THE SUN ALWAYS SHINES ON T.V." A-HA (1985)

As an eighties kid, synth pop has been pumping in my blood ever since that first day I turned on my MTV. There’s some debate as to who’s considered a synth pop band and who isn’t. For this September Music Twitter challenge – #SynthPopSeptember – I’m focusing more on what’s considered synth pop, not who. The songs I’m featuring on Mental Jukebox this month aren’t solely composed of synthesizers. There may be drums, bass, and dare I say, electric guitars. But each of these songs were picked because the synthesizer is core to its being.

A-ha enjoyed considerable success in Europe, but in the States they were considered a one-hit wonder. “Take On Me” became one of the most well-known synth pop songs of its generation, thanks to that iconic keyboard part and a music video that blended animated characters with real-life people. Thankfully, it was the exposure on MTV of “Take On Me” that led me to discover an A-ha single that I loved so much more: “The Sun Always Shines On T.V.”.

Purists will say this isn’t really a synth pop song because the guitar plays a prominent role. But I’d argue that this is a synth pop song to the core because the synthesizer is the heart and soul of this song. It’s responsible for nearly every major moment on the track. It creates the dreamy interlude in the beginning. It ushers the song into overdrive at the :50 mark. And it’s the star of the instrumental chorus portion toward the end, not the guitar.

“I Reached inside myself And found nothing there To ease the pressure off My ever worried mind.”

"IN MY ROOM" YAZ (1982)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

The topic of great electronic music can’t be had without mentioning Upstairs at Eric’s and the talented duo of Vince Clarke and Alison Moyet. While I do love Depeche Mode, I was never a real fan of the Vince Clarke years. But, for me, things were different with Upstairs at Eric’s (not to mention many of the early Erasure albums). This is when I truly began to appreciate Clarke’s unique synth pop stylings paired with Moyet’s vastly underrated and underexposed prowess as a lead singer (at least here in the States). Upstairs at Eric’s showcases both commanding synth arrangements and vocal performances. And “In My Room” stuck out like a sore thumb. I love it.

Most of the songs on Upstairs at Eric’s were built to make you dance. Well, not “In My Room”. It’s packed with more samples than dance-worthy keyboard hooks. It’s a sprawling track with miles of space built in between those electronic drum hits. The song prominently features the Lord’s Prayer read robotically and repeatedly, and accompanied by recordings of conversation bits and shattered glass. “In My Room” is a spiritual experience. Clarke’s synth lines are intentionally understated to bring greater prominence to the gravity of the spoken words and Moyet’s resolute vocals.

“And in the room locked up inside me. The cutout magazines remind me. I sit and wait alone in my room.”

"LIFE IN A NORTHERN TOWN" THE DREAM ACADEMY (1985)

This month on Twitter, @sotachetan hosts #BrandedInSongs – which is a head-on collision of my personal world of music and my professional world of branding and advertising. The challenge is to simply pick a song with a brand name in its lyrics or title. I added one more criteria to my picks, which is this: the songs themselves must be as iconic as the brands they mention. No filler here.

The Dream Academy is rarely mentioned among the great British synth-pop bands of the eighties. But they made more than just a splash via the Ferris Bueller’s Day Off soundtrack (“The Edge Of Forever” and their Smiths cover “Please, Please, Please Let Me Get What I Want”) and this top ten hit, “Life In A Northern Town”. Their sound was bright, ethereal and dream-like. And there’s really no other band quite like them.

“Life In A Northern Town” was their U.S. breakthrough. This is most likely due to the catchy and unforgettable “hey ma ma ma ma” chant. It’s that radio-friendly hook that made the song a staple. It was just the sort of thing that was easily loved, but then reached a saturation point pretty quickly. It wasn’t until more than two decades after the single was released that I learned the song was an elegy for Nick Drake. This only increased my admiration for the song as 1985 was well before most of the world uncovered the great folk annals of Nick Drake’s music.

“A Salvation Army band played. And the children drank lemonade. And the morning lasted all day.”

"LEAVE ME ALONE" NEW ORDER (1983)

You can get off to a fast start. You can sustain your opener with the main course, not filler. But can you end on a high note? Sometimes I wonder if recording a strong closer is the most difficult thing to pull off when it comes to album rock. When it comes to the cream of the crop in music, I can think of more strong openers than strong closers. Nonetheless, I still have my favorites which I’ll be featuring on Mental Jukebox all month.

Power, Corruption And Lies is the album where New Order’s unique identity began to come to fruition. On their debut recording, Movement, they seemed almost chained up by the ghosts of Joy Division and Ian Curtis. After all, it was literally months after the death of both entities when the began headed back to the recording studio. Probably the two biggest changes that occurred on PC&L were the larger emphasis on synthesizers and the distinctly different vocal approach of Bernard Sumner, which was far lighter than Curtis, even whimsical at times. However, for the final track on the PC&L, New Order chose a song that still has delightful tinges of Joy Division.

This is the strength of “Leave Me Alone”, the fact that it straddles the fence between both eras without compromising artistically. In fact, it’s the influences of both bands’ sounds that make this track so good. Barney is no Ian and would never be mistaken for him. But this is also a far cry away from the dance rock approach that New Order would become famous for. In his depression, Ian often sounded detached from everyone. But with Barney, his own struggles seem much more relatable and within reach. The guitars on “Leave Me Alone” stretch upward to a more New Order-esque sound, but the song maintains strong roots to the Joy Division sound especially with Stephen’s drum finale.

“On a thousand islands in the sea, I see a thousand people just like me.”

"MR. DISCO" NEW ORDER (1989)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Technique (1989)

There are two sides to one of my favorite bands of all time, New Order. There’s the rock-based side, which has always been my preference. There, the band relies mainly on Hooky’s melodic bass lines, Sumner’s contributions on guitar and Stephen Morris on live drums. Then there’s the dance rock side where Stephen typically joins his wife on keyboards and sequencers and the drum machines kick in for a more electronic aesthetic. Technique undoubtedly is an example of the latter, born out of the group’s time in Ibiza, soaking in the rays during the day and the club scene at night. While it’s not my favorite side of the band’s sound, I believe Technique is New Order’s most cohesive and consistent album. Every track could’ve been a single, including the fan favorite, “Mr. Disco”.

The track starts with that throbbing, sputtering synth bass line with Hooky’s own electric bass line humbly – and perhaps resistantly – taking a backseat by dotting the club-like landscape in the background. The band wastes little time getting to Sumner’s catchy melody and lyrics, affirming his ability to write lasting pop songs with the best of ‘em. But Gillian is the star here, concocting not just one irresistible synth hook, not two, not three, but four. “Mr. Disco” is surprisingly resilient over thirty years later.

"STRIPPED" DEPECHE MODE (1986)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Black Celebration (1986)

Some Great Reward was the album that introduced me to Depeche Mode. But the next record, Black Celebration, is the one that made me a fan for life. This is the album that solidified DM’s brand of dark, ominous electro-pop. The band took a major leap forward on this record. It oozes with confidence and swagger. Gore’s songwriting was in the zone. Gahan sang songs that allowed his baritone voice to elevate and dominate. Wilder created some of the band’s most memorable synth compositions. And Fletch’s behind-the-scenes, unfettered command of bass, drones and support keyboard parts can’t be denied. Want proof? Listen to “Stripped”.

One of the band’s all-time best tracks, “Stripped” is Depeche Mode. And Depeche Mode is “Stripped”. It’s far more characteristic of the band’s defining sound than “Just Can’t Get Enough”, “People Are People”, “Personal Jesus” and “Enjoy The Silence” combined. “Stripped” gets under your skin, inside your bones and messes with your head. The opening sound effect is reminiscent of a car driving incessantly on a flat tire. If that doesn’t rope you in, Gahan’s lead vocals with Gore on back-up will. The insistent darkness is compounded by multiple synth riffs – a darting arpeggio in the lower registers and the ominous treble notes that soar over us. “Stripped” is a song that I can listen to again and again and again.

“Metropolis has nothing on this.”