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Chamber pop

February 15, 2024

Chamber pop (also called baroque pop[7][8] and sometimes conflated with orchestral pop or symphonic pop[1]) is a music genre that combines rock music[1] with the intricate use of strings, horns, piano, and vocal harmonies, and other components drawn from the orchestral and lounge pop of the 1960s, with an emphasis on melody and texture.

Chamber pop
Other names
Stylistic origins
Cultural origins1960s–1990s, United States
Typical instruments
Other topics

During chamber pop's initial emergence in the 1960s, producers such as Burt Bacharach, Lee Hazlewood, and the Beach Boys' Brian Wilson served as formative artists of the genre. Wilson's productions of the Beach Boys' albums Pet Sounds and Smile are cited as particularly influential to the genre. From the early 1970s to early 1990s, most chamber pop acts saw little to no mainstream success. The genre's decline was attributed to costly touring and recording logistics and a reluctance among record labels to finance instruments like strings, horns, and keyboards on artists' albums.

In the mid-1990s, chamber pop developed as a subgenre of indie rock[4] or indie pop[5] in which musicians opposed the distorted guitars, lo-fi aesthetic, and simple arrangements common to the alternative or "modern rock" groups of that era. In Japan, the movement was paralleled by Shibuya-kei, another indie genre that was formed on some of the same bedrock of influences. By the 2000s, the term "chamber pop" would be inconsistently applied to a variety of bands whose work attracted comparisons to Pet Sounds.

Definition and beginnings edit

Further information: Orchestral pop, Pet Sounds, and él Records
 
The High Llamas performing in 2011 (leader Sean O'Hagan pictured)

The combination of string sections and rock music has been called "symphonic pop", "chamber pop", and orchestral pop (or "ork-pop" for short).[1] Ork-pop refers to a branch of underground rock musicians who shared an affinity with the Beach Boys' 1966 studio album Pet Sounds, such as the High Llamas and bands from the Elephant 6 collective.[9] According to CMJ's David Jerman, the name was the creation of rock critics, "encompassing everyone from fans of the Beach Boys to fans of Bacharach and Mancini".[10] Chamber pop is stylistically diverse.[6] AllMusic states that the genre carries on the "spirit" of the baroque pop of the 1960s,[11] while cultural writers Joseph Fisher and Brian Flota call it the "heir" to baroque pop.[12][nb 1] Strongly influenced by the rich orchestrations of Burt Bacharach, Brian Wilson, and Lee Hazlewood, chamber pop artists once again focused on melody and texture.[3] Another major source of influence was the singer Scott Walker.[6] New York Daily News' Jim Farber summarizes the genre; "think Donovan meets Burt Bacharach".[14][nb 2]

 
The Beach Boys – "Wonderful" (1967 Smile recording)
Described as "proto-psychedelic chamber pop" by biographer Mark Dillon, "Wonderful" showcases Wilson's lead vocals and harpsichord-playing supported by trumpet and the Beach Boys' "parlor-room harmonies".[17]
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Newsmakers believes that the Beach Boys' Pet Sounds helped define chamber pop as "intimate, precisely arranged songs with rock's sweep but without its bluesy clamor."[18][nb 3] Following the album was the group's unfinished 1966–67 work Smile, a collaboration between Brian Wilson and lyricist Van Dyke Parks that also heavily influenced the genre.[6] According to the High Llamas' Sean O'Hagan, Pet Sounds had been "the beginning of the great pop experiment. But it wasn't allowed to continue, because rock and roll got hold of the whole thing and stopped it. Pop didn't take off again until this decade [the 1990s]."[20] Author Carl Wilson (no relation) says that Brian's "pained vulnerability", "uses of offbeat instruments", "intricate harmonies", and "the Smile saga itself" became a common reference point for chamber pop bands.[21][nb 4] Just as ork-pop acts shared a love for Wilson, they also held an admiration for one another's work.[23] In the late 1980s, the majority of Louis Phillipe's productions for él Records also made sophisticated use of orchestras and voices that embodied and defined the chamber pop style.[24][nb 5]

Chamber pop was part of a larger trend which involved musicians who rejected traditional rock conventions, such as Tortoise and Stereolab, although those specific bands are not considered ork-pop.[23][nb 6] The genre's orchestration is typically more complex than rock music,[6] making extensive use of brass and strings.[3][6] It drew from the 1990s lounge music revival but avoided any influence from other contemporary styles like grunge, electronica, or alternative music, particularly the lo-fi hiss and distortion of the last.[3] Although modern rock groups like Smashing Pumpkins, The Verve, Oasis, and R.E.M. occasionally used strings, their approach was considerably less intricate.[23] The High Llamas were one of the first to anticipate the easy-listening fad with their 1993 album Gideon Gaye.[27] O'Hagan felt that "There is this whole misconception that American college rock with twisted baseball hats and checked shirts is adventurous, but it's the most conformist, corporate thing out there." with Eric Matthews adding "All these bands sound like Nirvana and Pearl Jam. It's a shame that it couldn't be discovered from the get-go for what it is. A lot of it is just very simple dumb-guy rock."[23]

Emergence and popularity edit

Bored by the three-chord simplicity of grunge and neo-punk, a new breed of popsmiths is going back to such inspirations as Brian Wilson, Burt Bacharach, and Phil Spector in the quest for building the perfect orchestrated pop masterpiece. [...] their music offers an alternative for those who have grown tired of distorted guitars and angst-ridden vocals.

—Craig Rosen writing in Billboard, 1996[23]

Fisher and Flota trace chamber pop to "at least" the mid 1990s.[12] According to Natalie Waliek of music retailer Newbury Comics, the then-"renewed interest in psychedelia" and the "overlap with the cocktail/lounge music thing, because that music [also] has orchestrations", likely contributed to the sales of ork-pop albums, but acts were restricted to only a moderate degree of commercial success. The majority of musicians were aged beyond their early 20s, and many struggled to achieve significant retail or radio success compared to modern rock.[23] In the past, record companies had helped facilitate large multi-instrumental bands by financing instruments like strings, horns, and keyboards on artists' albums, but this became rarer as time went on.[28] Touring with full string and brass ensembles also proved difficult for some, which became another factor that prevented the genre's mainstream success.[23]

In Japan, a remote parallel was the development of Shibuya-kei, which also revisited the trend of foregrounding instruments like strings and horns in its arrangements.[4] The genre was informed by classic Western pop music,[29] especially the orchestral domains occupied by Burt Bacharach, Brian Wilson, Phil Spector, and Serge Gainsbourg.[30] Unlike other Japanese music scenes, its audiences did not necessarily cross over into anime fandoms, but rather indie pop enthusiasts. This was partly because many of its bands were distributed in the United States through major indie labels like Matador and Grand Royal.[31][nb 7] Shibuya-kei ultimately peaked in the late 1990s and declined after its principal players began moving into other music styles.[33]

 
Plush – "Found a Little Baby" (1994)
Billboard's Chris Morris wrote that this debut single by Hayes made "quite a splash with the international press ... heralded as the harbinger of a new school of orchestral pop – 'ork pop' for short."[34]
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In a 1996 profile of ork-pop, Craig Rosen lists examples that include Yum-Yum, the High Llamas, Richard Davies, Eric Matthews, Spookey Ruben, Witch Hazel, and Liam Hayes (Plush).[23] Matthews, who partnered with Davies for duo Cardinal, was considered a leading figure in ork-pop.[35] Popmatters' Maria Schurr wrote in a retrospective review of Cardinal's eponymous 1994 debut album; "in some circles, [it has] been called the grunge era's answer to Pet Sounds, and, although it has not been as widely cited as the Beach Boys' classic, it has undoubtedly influenced more off balance indie popsters than one may expect."[36] Music journalist Jim DeRogatis associates the ork-pop and chamber pop movement to bands like Yum-Yum, Cardinal and Lambchop.[2][nb 8]

2000s–present edit

By 2009, the term "chamber pop" had fallen to general misuse, as songwriter/author Scott Miller suggests, it "made more sense applied to the Fleet Foxes than to other bands I've since seen it applied to".[37] He also noted that Pet Sounds had become a ubiquitous object of comparison; "[If people] are happy about that, I have to pinch myself and reflect that I'd never thought I'd see the day."[37] Treblezine's Brian Roster wrote that Grizzly Bear's album Veckatimest was a "landmark exploration of the changing landscapes of pop in 2009" that represented an attempt to create "a sort of abridged conclusion to chamber pop's earliest days".[6]

Notes edit

  1. ^ Although baroque pop was prefigured by producers like Phil Spector, whose arrangements were orchestral and heavily layered, the genre was distinguished for its Romantic aesthetic, small string ensembles, and more classically-derived melodies.[13]
  2. ^ Spin magazine refers to Bacharach and Wilson as "gods" of orchestral pop.[15] In journalist Chris Nickson's opinion, the "apex" of orchestral pop lied in Walker, explaining that "in his most fertile period, 1967–70, he created a body of work that was, in its own way, as revolutionary as the Beatles'. He took the ideas of Mancini and Bacharach to their logical conclusion, essentially redefining the concept of orchestral pop."[16]
  3. ^ Writing about the album's title track in his 2017 memoir, Wilson said: "I loved Thunderball, which had come out the year before, and I loved listening to composers like Henry Mancini, who did these cool themes for shows like Peter Gunn, and Les Baxter, who did all these big productions that sounded sort of like Phil Spector productions."[19]
  4. ^ Smile, whose recordings remained unreleased for decades, was embraced by the alternative rock generation once bootlegs from the album became more widespread in the late 1980s and early 1990s.[22]
  5. ^ Philippe described his own music as: "covering the range from pure bubblegum to symphonic sweep, with detours via jazz and soul along the way. A typical album might mix influences from vintage pop, French chanson, Ravel, bossa nova, Duke Ellington, the Shirelles, or the Beach Boys, while classical instruments and intricate backing vocals often feature in the arrangements."[25]
  6. ^ Writing about the new "post-rock" in 1994, Simon Reynolds noted the influence of Spector, Wilson, and Brian Eno; specifically their preoccupation for "soundscaping" that involves "using musicians as a sort of palette of textures, as opposed to the rock band's collective toil."[26]
  7. ^ Philippe was surprised to be heralded as the "godfather" of the Shibuya sound around the time he released the Japan-only albums Jean Renoir (1992) and Rainfall (1993).[25] The movement's musicians romanticized Wilson as a mad genius experimenting in the recording studio, and Spector's Wall of Sound was emulated not for its denseness, but for its elaborate quality.[32]
  8. ^ In 2004, when asking the Decemberists' bandleader Colin Meloy whether he felt a connection with the movement and the band's work, Meloy answered; "I don't know if we've ever been labeled that before. So much attention gets put on the lyrical content—the songs themselves—that people don't pay as close attention to the arrangements, which is something we're trying to change. ... I think the orchestral side—the cinematic side of the music—is going to come through more and more."[2]

Citations edit

  1. ^ a b c d e f Salmon, Ben (May 25, 2007). . The Bulletin. Archived from the original on June 10, 2016.
  2. ^ a b c DeRogatis, Jim (June 4, 2004). "Rock soars to new heights with Decemberists". Chicago Sun-Times. from the original on May 31, 2016. Retrieved May 3, 2016.
  3. ^ a b c d e f "Chamber pop". AllMusic. from the original on June 27, 2015. Retrieved March 5, 2016.
  4. ^ a b c d Tonelli 2004, p. 3.
  5. ^ a b "Indie Pop". AllMusic. from the original on July 15, 2016. Retrieved June 24, 2016.
  6. ^ a b c d e f g h i j k Treble staff (September 22, 2016). "10 Essential Chamber Pop Albums". Treblezine. from the original on December 2, 2020. Retrieved November 20, 2016.
  7. ^ Jackson, Andrew Grant (2015). 1965: The Most Revolutionary Year in Music. St. Martin's Publishing Group. p. 22.
  8. ^ Staff. "Chamber Pop Music Guide: 7 Notable Chamber Pop Artists". Masterclass. Retrieved December 5, 2022.
  9. ^ DeRogatis 2003, pp. 39, 95.
  10. ^ Jarman, David (July 1998). "Reviews". CMJ New Music Monthly. CMJ Network, Inc. p. 60. ISSN 1074-6978. from the original on July 27, 2020. Retrieved August 27, 2016.
  11. ^ "Baroque pop". AllMusic. from the original on August 9, 2015. Retrieved March 5, 2016.
  12. ^ a b Flota & Fisher 2013, p. 122.
  13. ^ Janovitz 2013, p. 81.
  14. ^ Farber, Jim (October 12, 2010). "Belle and Sebastian's 'Write About Love' review: Stuart Murdoch and his sound mature". New York Daily News. from the original on October 5, 2016. Retrieved August 20, 2016.
  15. ^ "Reviews". Spin. October 2006. ISSN 0886-3032. from the original on July 4, 2022. Retrieved November 21, 2016.
  16. ^ Nickson, Chris (November 1997). "The Sons of Scott Walker". CMJ New Music Monthly: 20, 22. ISSN 1074-6978. from the original on July 4, 2022. Retrieved November 21, 2016.
  17. ^ Dillon 2012, p. 151.
  18. ^ Collins, Louise Mooney (1996). Newsmakers. Gale Research Inc. p. 122. ISBN 9780810393219. from the original on February 22, 2017. Retrieved August 27, 2016.
  19. ^ Wilson & Greenman 2016, p. 179.
  20. ^ Smith, Ethan (November 10, 1997). "Do It Again". New York Magazine. Vol. 30, no. 43. New York Media, LLC. ISSN 0028-7369. from the original on April 7, 2017. Retrieved April 6, 2017.
  21. ^ Wilson, Carl (June 9, 2015). "The Beach Boys' Brian Wilson: America's Mozart?". BBC. from the original on June 17, 2018. Retrieved March 15, 2016.
  22. ^ Priore 2005, pp. 153–155.
  23. ^ a b c d e f g h Rosen, Craig (May 25, 1996). "Building A Perfect Ork-Pop Masterpiece". Billboard. Nielsen Business Media, Inc. pp. 1, 92, 95. ISSN 0006-2510. from the original on July 4, 2022. Retrieved August 27, 2016.
  24. ^ Marmoro, Gianfranco (January 12, 2010). "The Ocean Tango". Ondarock (in Italian). from the original on November 3, 2018. Retrieved August 13, 2016.
  25. ^ a b Evans, Christopher. "Louis Philippe". AllMusic. from the original on November 3, 2018. Retrieved March 14, 2017.
  26. ^ Reynolds, Simon (May 1994). . The Wire (123). Archived from the original on December 2, 2001.
  27. ^ Kamp & Daly 2005, p. 52.
  28. ^ Wedel, Mark (September 16, 2010). "Canasta cares about your ears: Chicago 'ork-pop' band writes songs with listeners in mind". Kalamazoo Gazette. from the original on August 6, 2016. Retrieved June 11, 2016.
  29. ^ Anon. (n.d.). "Shibuya-Kei". AllMusic. from the original on October 8, 2021. Retrieved March 14, 2017.
  30. ^ Lindsay, Cam (August 4, 2016). "Return to the Planet of Cornelius". Vice. from the original on February 4, 2017. Retrieved March 14, 2017.
  31. ^ Ohanesian, Liz (April 13, 2011). "Japanese Indie Pop: The Beginner's Guide to Shibuya-Kei". LA Weekly. from the original on August 9, 2018. Retrieved March 14, 2017.
  32. ^ Walters, Barry (November 6, 2014). "The Roots of Shibuya-Kei". Red Bull Music Academy. from the original on February 5, 2017. Retrieved March 14, 2017.
  33. ^ Michael, Patrick St. (June 11, 2016). "Cornelius: Fantasma Album Review". Pitchfork. from the original on May 8, 2021. Retrieved March 14, 2017.
  34. ^ Morris, Chris (September 19, 1998). "Catalog Specialist Del-Fi Launches New-Music Imprint". Billboard. Nielsen Business Media, Inc. p. 83. ISSN 0006-2510. from the original on July 27, 2020. Retrieved August 27, 2016.
  35. ^ Morris, Chris (August 23, 1997). "Sub Pop Feels the Time Is Right for Eric Matthews". Billboard. Nielsen Business Media, Inc. p. 10. ISSN 0006-2510. from the original on July 27, 2020. Retrieved August 27, 2016.
  36. ^ Schurr, Maria (July 23, 2014). "Cardinal (reissue)". Popmatters. from the original on June 17, 2016. Retrieved May 4, 2016.
  37. ^ a b Miller 2010, p. 22.

Sources edit

  • DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Hal Leonard Corporation. ISBN 978-0-634-05548-5. from the original on July 27, 2020. Retrieved August 27, 2016.
  • Dillon, Mark (2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story. ECW Press. ISBN 978-1-77090-198-8.
  • Flota, Brian; Fisher, Joseph P. (2013). The Politics of Post-9/11 Music: Sound, Trauma, and the Music Industry in the Time of Terror. Ashgate Publishing, Ltd. ISBN 978-1-4094-9492-8. from the original on July 27, 2020. Retrieved August 27, 2016.
  • Janovitz, Bill (2013). Rocks Off: 50 Tracks That Tell the Story of the Rolling Stones. St. Martin's Press. ISBN 978-1-250-02631-6. from the original on July 27, 2020. Retrieved May 4, 2017.
  • Kamp, David; Daly, Steven (2005). The Rock Snob's Dictionary: An Essential Lexicon Of Rockological Knowledge. Broadway Books. ISBN 978-0-7679-1873-2. from the original on April 7, 2017. Retrieved April 6, 2017.
  • Miller, Scott (2010). Music: What Happened?. 125 Records. ISBN 978-0-615-38196-1. from the original on July 24, 2020. Retrieved November 20, 2016.
  • Priore, Domenic (2005). Smile: The Story of Brian Wilson's Lost Masterpiece. London: Sanctuary. ISBN 1-86074-627-6.
  • Tonelli, Christopher (2004). Shibuya-kei? O-kei Desu!: Postmodernism, Resistance, and Tokyo Indie Culture. University of California, San Diego. from the original on July 27, 2020. Retrieved August 27, 2016.
  • Wilson, Brian; Greenman, Ben (2016). I Am Brian Wilson: A Memoir. Da Capo Press. ISBN 978-0-306-82307-7. from the original on July 26, 2020. Retrieved December 28, 2017.

February 15, 2024
chamber, also, called, baroque, sometimes, conflated, with, orchestral, symphonic, music, genre, that, combines, rock, music, with, intricate, strings, horns, piano, vocal, harmonies, other, components, drawn, from, orchestral, lounge, 1960s, with, emphasis, m. Chamber pop also called baroque pop 7 8 and sometimes conflated with orchestral pop or symphonic pop 1 is a music genre that combines rock music 1 with the intricate use of strings horns piano and vocal harmonies and other components drawn from the orchestral and lounge pop of the 1960s with an emphasis on melody and texture Chamber popOther namesBaroque poporchestral pop 1 2 Stylistic originsRock 1 lounge 3 4 classical 1 indie rock 4 indie pop 5 Cultural origins1960s 1990s United StatesTypical instrumentsStrings 3 6 horns 3 6 piano 6 chamberlin 6 vibraphone 6 Other topicsel Records lo fi music Shibuya keiDuring chamber pop s initial emergence in the 1960s producers such as Burt Bacharach Lee Hazlewood and the Beach Boys Brian Wilson served as formative artists of the genre Wilson s productions of the Beach Boys albums Pet Sounds and Smile are cited as particularly influential to the genre From the early 1970s to early 1990s most chamber pop acts saw little to no mainstream success The genre s decline was attributed to costly touring and recording logistics and a reluctance among record labels to finance instruments like strings horns and keyboards on artists albums In the mid 1990s chamber pop developed as a subgenre of indie rock 4 or indie pop 5 in which musicians opposed the distorted guitars lo fi aesthetic and simple arrangements common to the alternative or modern rock groups of that era In Japan the movement was paralleled by Shibuya kei another indie genre that was formed on some of the same bedrock of influences By the 2000s the term chamber pop would be inconsistently applied to a variety of bands whose work attracted comparisons to Pet Sounds Contents 1 Definition and beginnings 2 Emergence and popularity 3 2000s present 4 Notes 5 Citations 6 SourcesDefinition and beginnings editFurther information Orchestral pop Pet Sounds and el Records nbsp The High Llamas performing in 2011 leader Sean O Hagan pictured The combination of string sections and rock music has been called symphonic pop chamber pop and orchestral pop or ork pop for short 1 Ork pop refers to a branch of underground rock musicians who shared an affinity with the Beach Boys 1966 studio album Pet Sounds such as the High Llamas and bands from the Elephant 6 collective 9 According to CMJ s David Jerman the name was the creation of rock critics encompassing everyone from fans of the Beach Boys to fans of Bacharach and Mancini 10 Chamber pop is stylistically diverse 6 AllMusic states that the genre carries on the spirit of the baroque pop of the 1960s 11 while cultural writers Joseph Fisher and Brian Flota call it the heir to baroque pop 12 nb 1 Strongly influenced by the rich orchestrations of Burt Bacharach Brian Wilson and Lee Hazlewood chamber pop artists once again focused on melody and texture 3 Another major source of influence was the singer Scott Walker 6 New York Daily News Jim Farber summarizes the genre think Donovan meets Burt Bacharach 14 nb 2 nbsp The Beach Boys Wonderful 1967 Smile recording source source Described as proto psychedelic chamber pop by biographer Mark Dillon Wonderful showcases Wilson s lead vocals and harpsichord playing supported by trumpet and the Beach Boys parlor room harmonies 17 Problems playing this file See media help Newsmakers believes that the Beach Boys Pet Sounds helped define chamber pop as intimate precisely arranged songs with rock s sweep but without its bluesy clamor 18 nb 3 Following the album was the group s unfinished 1966 67 work Smile a collaboration between Brian Wilson and lyricist Van Dyke Parks that also heavily influenced the genre 6 According to the High Llamas Sean O Hagan Pet Sounds had been the beginning of the great pop experiment But it wasn t allowed to continue because rock and roll got hold of the whole thing and stopped it Pop didn t take off again until this decade the 1990s 20 Author Carl Wilson no relation says that Brian s pained vulnerability uses of offbeat instruments intricate harmonies and the Smile saga itself became a common reference point for chamber pop bands 21 nb 4 Just as ork pop acts shared a love for Wilson they also held an admiration for one another s work 23 In the late 1980s the majority of Louis Phillipe s productions for el Records also made sophisticated use of orchestras and voices that embodied and defined the chamber pop style 24 nb 5 Chamber pop was part of a larger trend which involved musicians who rejected traditional rock conventions such as Tortoise and Stereolab although those specific bands are not considered ork pop 23 nb 6 The genre s orchestration is typically more complex than rock music 6 making extensive use of brass and strings 3 6 It drew from the 1990s lounge music revival but avoided any influence from other contemporary styles like grunge electronica or alternative music particularly the lo fi hiss and distortion of the last 3 Although modern rock groups like Smashing Pumpkins The Verve Oasis and R E M occasionally used strings their approach was considerably less intricate 23 The High Llamas were one of the first to anticipate the easy listening fad with their 1993 album Gideon Gaye 27 O Hagan felt that There is this whole misconception that American college rock with twisted baseball hats and checked shirts is adventurous but it s the most conformist corporate thing out there with Eric Matthews adding All these bands sound like Nirvana and Pearl Jam It s a shame that it couldn t be discovered from the get go for what it is A lot of it is just very simple dumb guy rock 23 Emergence and popularity editBored by the three chord simplicity of grunge and neo punk a new breed of popsmiths is going back to such inspirations as Brian Wilson Burt Bacharach and Phil Spector in the quest for building the perfect orchestrated pop masterpiece their music offers an alternative for those who have grown tired of distorted guitars and angst ridden vocals Craig Rosen writing in Billboard 1996 23 Fisher and Flota trace chamber pop to at least the mid 1990s 12 According to Natalie Waliek of music retailer Newbury Comics the then renewed interest in psychedelia and the overlap with the cocktail lounge music thing because that music also has orchestrations likely contributed to the sales of ork pop albums but acts were restricted to only a moderate degree of commercial success The majority of musicians were aged beyond their early 20s and many struggled to achieve significant retail or radio success compared to modern rock 23 In the past record companies had helped facilitate large multi instrumental bands by financing instruments like strings horns and keyboards on artists albums but this became rarer as time went on 28 Touring with full string and brass ensembles also proved difficult for some which became another factor that prevented the genre s mainstream success 23 In Japan a remote parallel was the development of Shibuya kei which also revisited the trend of foregrounding instruments like strings and horns in its arrangements 4 The genre was informed by classic Western pop music 29 especially the orchestral domains occupied by Burt Bacharach Brian Wilson Phil Spector and Serge Gainsbourg 30 Unlike other Japanese music scenes its audiences did not necessarily cross over into anime fandoms but rather indie pop enthusiasts This was partly because many of its bands were distributed in the United States through major indie labels like Matador and Grand Royal 31 nb 7 Shibuya kei ultimately peaked in the late 1990s and declined after its principal players began moving into other music styles 33 nbsp Plush Found a Little Baby 1994 source source Billboard s Chris Morris wrote that this debut single by Hayes made quite a splash with the international press heralded as the harbinger of a new school of orchestral pop ork pop for short 34 Problems playing this file See media help In a 1996 profile of ork pop Craig Rosen lists examples that include Yum Yum the High Llamas Richard Davies Eric Matthews Spookey Ruben Witch Hazel and Liam Hayes Plush 23 Matthews who partnered with Davies for duo Cardinal was considered a leading figure in ork pop 35 Popmatters Maria Schurr wrote in a retrospective review of Cardinal s eponymous 1994 debut album in some circles it has been called the grunge era s answer to Pet Sounds and although it has not been as widely cited as the Beach Boys classic it has undoubtedly influenced more off balance indie popsters than one may expect 36 Music journalist Jim DeRogatis associates the ork pop and chamber pop movement to bands like Yum Yum Cardinal and Lambchop 2 nb 8 2000s present editBy 2009 the term chamber pop had fallen to general misuse as songwriter author Scott Miller suggests it made more sense applied to the Fleet Foxes than to other bands I ve since seen it applied to 37 He also noted that Pet Sounds had become a ubiquitous object of comparison If people are happy about that I have to pinch myself and reflect that I d never thought I d see the day 37 Treblezine s Brian Roster wrote that Grizzly Bear s album Veckatimest was a landmark exploration of the changing landscapes of pop in 2009 that represented an attempt to create a sort of abridged conclusion to chamber pop s earliest days 6 Notes edit Although baroque pop was prefigured by producers like Phil Spector whose arrangements were orchestral and heavily layered the genre was distinguished for its Romantic aesthetic small string ensembles and more classically derived melodies 13 Spin magazine refers to Bacharach and Wilson as gods of orchestral pop 15 In journalist Chris Nickson s opinion the apex of orchestral pop lied in Walker explaining that in his most fertile period 1967 70 he created a body of work that was in its own way as revolutionary as the Beatles He took the ideas of Mancini and Bacharach to their logical conclusion essentially redefining the concept of orchestral pop 16 Writing about the album s title track in his 2017 memoir Wilson said I loved Thunderball which had come out the year before and I loved listening to composers like Henry Mancini who did these cool themes for shows like Peter Gunn and Les Baxter who did all these big productions that sounded sort of like Phil Spector productions 19 Smile whose recordings remained unreleased for decades was embraced by the alternative rock generation once bootlegs from the album became more widespread in the late 1980s and early 1990s 22 Philippe described his own music as covering the range from pure bubblegum to symphonic sweep with detours via jazz and soul along the way A typical album might mix influences from vintage pop French chanson Ravel bossa nova Duke Ellington the Shirelles or the Beach Boys while classical instruments and intricate backing vocals often feature in the arrangements 25 Writing about the new post rock in 1994 Simon Reynolds noted the influence of Spector Wilson and Brian Eno specifically their preoccupation for soundscaping that involves using musicians as a sort of palette of textures as opposed to the rock band s collective toil 26 Philippe was surprised to be heralded as the godfather of the Shibuya sound around the time he released the Japan only albums Jean Renoir 1992 and Rainfall 1993 25 The movement s musicians romanticized Wilson as a mad genius experimenting in the recording studio and Spector s Wall of Sound was emulated not for its denseness but for its elaborate quality 32 In 2004 when asking the Decemberists bandleader Colin Meloy whether he felt a connection with the movement and the band s work Meloy answered I don t know if we ve ever been labeled that before So much attention gets put on the lyrical content the songs themselves that people don t pay as close attention to the arrangements which is something we re trying to change I think the orchestral side the cinematic side of the music is going to come through more and more 2 Citations edit a b c d e f Salmon Ben May 25 2007 Classic combo The Bulletin Archived from the original on June 10 2016 a b c DeRogatis Jim June 4 2004 Rock soars to new heights with Decemberists Chicago Sun Times Archived from the original on May 31 2016 Retrieved May 3 2016 a b c d e f Chamber pop AllMusic Archived from the original on June 27 2015 Retrieved March 5 2016 a b c d Tonelli 2004 p 3 a b Indie Pop AllMusic Archived from the original on July 15 2016 Retrieved June 24 2016 a b c d e f g h i j k Treble staff September 22 2016 10 Essential Chamber Pop Albums Treblezine Archived from the original on December 2 2020 Retrieved November 20 2016 Jackson Andrew Grant 2015 1965 The Most Revolutionary Year in Music St Martin s Publishing Group p 22 Staff Chamber Pop Music Guide 7 Notable Chamber Pop Artists Masterclass Retrieved December 5 2022 DeRogatis 2003 pp 39 95 Jarman David July 1998 Reviews CMJ New Music Monthly CMJ Network Inc p 60 ISSN 1074 6978 Archived from the original on July 27 2020 Retrieved August 27 2016 Baroque pop AllMusic Archived from the original on August 9 2015 Retrieved March 5 2016 a b Flota amp Fisher 2013 p 122 Janovitz 2013 p 81 Farber Jim October 12 2010 Belle and Sebastian s Write About Love review Stuart Murdoch and his sound mature New York Daily News Archived from the original on October 5 2016 Retrieved August 20 2016 Reviews Spin October 2006 ISSN 0886 3032 Archived from the original on July 4 2022 Retrieved November 21 2016 Nickson Chris November 1997 The Sons of Scott Walker CMJ New Music Monthly 20 22 ISSN 1074 6978 Archived from the original on July 4 2022 Retrieved November 21 2016 Dillon 2012 p 151 Collins Louise Mooney 1996 Newsmakers Gale Research Inc p 122 ISBN 9780810393219 Archived from the original on February 22 2017 Retrieved August 27 2016 Wilson amp Greenman 2016 p 179 Smith Ethan November 10 1997 Do It Again New York Magazine Vol 30 no 43 New York Media LLC ISSN 0028 7369 Archived from the original on April 7 2017 Retrieved April 6 2017 Wilson Carl June 9 2015 The Beach Boys Brian Wilson America s Mozart BBC Archived from the original on June 17 2018 Retrieved March 15 2016 Priore 2005 pp 153 155 a b c d e f g h Rosen Craig May 25 1996 Building A Perfect Ork Pop Masterpiece Billboard Nielsen Business Media Inc pp 1 92 95 ISSN 0006 2510 Archived from the original on July 4 2022 Retrieved August 27 2016 Marmoro Gianfranco January 12 2010 The Ocean Tango Ondarock in Italian Archived from the original on November 3 2018 Retrieved August 13 2016 a b Evans Christopher Louis Philippe AllMusic Archived from the original on November 3 2018 Retrieved March 14 2017 Reynolds Simon May 1994 Post Rock The Wire 123 Archived from the original on December 2 2001 Kamp amp Daly 2005 p 52 Wedel Mark September 16 2010 Canasta cares about your ears Chicago ork pop band writes songs with listeners in mind Kalamazoo Gazette Archived from the original on August 6 2016 Retrieved June 11 2016 Anon n d Shibuya Kei AllMusic Archived from the original on October 8 2021 Retrieved 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