Experimental Pop

Experimental pop is pop music that cannot be categorized within traditional musical boundaries or which attempts to push elements of existing popular forms into new areas. It may incorporate experimental techniques such as musique concrète, aleatoric music, or eclecticism into pop contexts. Often, the compositional process involves the use of electronic production effects to manipulate sounds and arrangements, and the composer may draw the listener's attention specifically with both timbre and tonality, though not always simultaneously.

Experimental pop music developed concurrently with experimental jazz as a new kind of avant-garde, with many younger musicians embracing the practice of making studio recordings along the fringes of popular music. In the early 1960s, it was common for producers, songwriters, and engineers to freely experiment with musical form, orchestration, unnatural reverb, and other sound effects, and by the late 1960s, highly experimental pop music, or sounds that expanded the idea of the typical popular song, was positively received by young audiences.

Characteristics

Author Bill Martin states that while the term "experimental pop" may sound "seemingly oxymoronic", it is possible to identify three criteria for characterizing its music:
*It is rooted in existing popular forms
*It experiments with or stretches the use of these popular forms
*It attempts to draw the audience of those forms toward these new developments, in the manner of the avant-garde

Some tendencies among artists include the incorporation of experimental techniques such as musique concrète, aleatoric music, or eclecticism into pop contexts. Often, the compositional process involves the use of electronic production effects to manipulate sounds and arrangements. According to musicologist Leigh Landy, experimental pop settings combine sound-based work and note-based work, though not always simultaneously. Composer Nico Muhly described the world of experimental pop as "celebrations of sonic juxtapositions".

History

Origins (1950s–1960s)

Martin writes that experimental pop developed at roughly the same time as experimental jazz, and that it emerged as "a new kind of avant-garde" made possible by the historical and material circumstances of its time. In the pop and rock music of the early 1960s, it was common for producers, songwriters, and engineers to freely experiment with musical form, orchestration, unnatural reverb, and other sound effects. Some of the best known examples are Phil Spector's Wall of Sound and Joe Meek's use of homemade electronic sound effects for acts like the Tornados. According to author Mark Brend, Meek's '' I Hear a New World'' (1960) predates better-known experimental pop by several years, whereas musicologist Leigh Landy names the American composer Frank Zappa as one of the first experimental pop musicians.

Musician David Grubbs writes that many younger musicians "moved out of ohnCage's shadow by taking to a different extreme and embracing the practice of making studio recordings of works along the fringes of popular music". Grubbs further explains that some of the most prominent avant-garde musicians who formed rock bands in the mid 1960s were the Welsh John Cale (later of the Velvet Underground) and the American Joseph Byrd (later of the United States of America), who both went on to create albums of experimental pop music. However, a "gulf" would still exist between experimental composers and "out-there" pop musicians, partly due to the role of the recording studio. Regarding this, composer Robert Ashley is quoted in 1966;

Music historian Lorenzo Candalaria described American rock band the Beach Boys as "one of the most experimental and innovative groups of the 1960s." Co-founder and leader Brian Wilson wrote and produced songs for the group that ranged from massive hits to obscure experimental pop compositions. Their 1966 single "Good Vibrations", also produced and co-written by Wilson, topped record charts internationally, subsequently proliferating a wave of pop experimentation with its rush of riff changes, echo chamber effects, and intricate harmonies. It was followed by '' Smiley Smile'' (1967), an album of stripped-down recordings. In 2003, ''Stylus Magazine'' wrote that the album "embrace the listener with a drugged out sincerity; a feat never accomplished by the more pretentious and heavy-handed psychedelia of that era. It is for this reason ''Smiley Smile'' flows so well with the more experimental pop of today".

In the view of artist Duggie Fields, the Syd Barret-led incarnation of Pink Floyd exemplified experimental pop. The group found their initial success playing at the UFO Club in London, an underground venue whose objective was to provide an outlet for experimental pop groups. According to ''The New York Times'', Barrett and his subsequent solo albums "became a touchstone for experimental pop musicians".

By the late 1960s, highly experimental pop music, or sounds that expanded the idea of the typical popular song, was positively received by young audiences, which cultural essayist Gerald Lyn Early credits to bands like Cream, Traffic, Blood, Sweat & Tears, and "of course", the Beatles. Drummer John Densmore believed that the Doors were on the cutting edge of experimental pop music until he listened to the Beatles' album ''Sgt. Pepper's Lonely Hearts Club Band'' (1967), which he described as " eemingto have done it all". Martin wrote that, along with the Rolling Stones' '' Their Satanic Majesties Request'' (1967), the Beatles' ''Sgt. Pepper'' "opened a space" for experimental pop which would be later filled by Jimi Hendrix, Jethro Tull, and the Who's ''Tommy'' (1968). Prior to ''Sgt. Pepper'', Gary Usher and Curt Boettcher were Los Angeles-based songwriters and producers who were interested in classical music and the avant-garde. Later cited as fixtures of sunshine pop, they worked together to create their debut studio album, ''Present Tense'' (1968). It was credited to Sagittarius, a studio group referred to as an "experimental pop band" by '' The A.V. Clubs Noel Murray.

1970s–1980s

Author Pascal Bussy wrote that German krautrock groups such as Can and Kraftwerk successfully bridged the gap between experimental and pop music in the 1970s, while according to ''The New York Times'', Kraftwerk refined an "experimental pop sensibility" on albums such as '' Radio-Activity'' (1976) and '' Trans-Europe Express'' (1977). Writer Owen Hatherley located a "literary-experimental pop tradition" running throughout the United Kingdom during the 1970s and 1980s. Embodied by artists such as Roxy Music, the Smiths, the Associates, and Pet Shop Boys, this tradition "balanced sexuality and literacy, ostentatious performance and austere rectitude, raging ambition and class resentment, translating it into records balancing experimentation with populist cohesion."

The 1970s work of ex-Roxy Music member musician Brian Eno is cited by Leigh Landy as an archetypal example of a pop musician who "applied developments from the experimental sector while creating their own experimental pop sector." Following his departure from Roxy Music in 1973, Eno began releasing a series of solo albums where he simultaneously developed his ambient, pop, and electronic styles. In the belief of pop musician Scott Miller, they were the era's "most successful" experimental pop artists, explaining that the key to Eno's success "appears to have been making a science out of decision points (see ' Oblique Strategies') rather than being willfully ''weird'' or ''different'' at the usual unexamined decision points"

Eno's album ''Before and After Science'' (1977), according to Joshua Pickard of publication ''Nooga'', was "experimental pop lucidity  ..the culmination of sound that Eno had been working on since the release of ''Here Come the Warm Jets'' in 1973." Members of Roxy Music, Free, Fairport Convention, Can and Cluster feature on the record as session musicians in addition to Phil Collins, who performs drums on one track. Collins' own debut solo single " In the Air Tonight" (1981) was described by Gary Mills of ''The Quietus'' as being "at the vanguard of experimental pop" when it was released. He further called it "a rock oddity classic" which was influenced by "the unconventional studio predilections of Brian Eno and Peter Gabriel". Landy noted the tendency of experimental pop artists such as Eno and David Byrne to build tracks around existing recordings, effectively fusing different styles, a technique used on the duo's 1981 album '' My Life in the Bush of Ghosts''.

''The New York Times'' Will Hermes names Laurie Anderson an experimental pop pioneer whose signature song " O Superman" (1981) was a "left-field new wave hit" that "conflated maternal succor with the psychology of the modern corporate state using electronically processed verse." Writing for ''The Guardian'', Jason Cowley described British singer-songwriter Kate Bush as "an artist superbly articulate in the language of experimental pop music". ''Paste Magazine'' credited My Bloody Valentine's 1988 album '' Isn't Anything'' with showcasing an experimental pop aesthetic, which drew on "harsh, swirling guitar tones and beautifully dissonant distortion," that would eventually develop into the genre known as shoegazing. Martin suggested that hip hop music, particularly released by artists such as Public Enemy