Duran Duran

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• Top 6 New Wave Bands of All Time

  Currently #2 · score 0

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• Talking Heads

  Talking Heads, formed in New York in 1975 and closely associated with the CBGB punk and new wave scene, blended art-rock, funk, and African-influenced polyrhythms into a genre-crossing sound that distinguished them intellectually and musically from more straightforward punk contemporaries at the same venue. Frontman David Byrne's distinctively jittery, anxious vocal delivery and his oversized "big suit," worn during the band's celebrated 1984 concert film Stop Making Sense, became one of the most visually iconic images associated with new wave's broader aesthetic. The band's 1980 album Remain in Light, incorporating dense, layered polyrhythmic production influenced by West African music and produced alongside Brian Eno, expanded new wave's musical ambition well beyond the genre's more straightforwardly catchy synth-pop mainstream. Stop Making Sense, directed by Jonathan Demme, is widely regarded as one of the greatest concert films ever made, and Talking Heads' combination of genuine art-rock ambition and mainstream commercial accessibility made them one of the most critically respected bands to emerge from new wave's broader early-1980s commercial peak.

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• The Cure

  The Cure, formed in Crawley, England in 1976, evolved from an early punk-influenced sound into one of new wave and post-punk's most influential and atmospheric bands, with frontman Robert Smith's distinctive smeared lipstick and teased hair becoming one of the most recognizable visual images associated with the broader goth subculture the band helped popularize. Their 1989 album Disintegration, built around dense, atmospheric production and Smith's often deeply melancholic lyrics, is widely regarded as one of the finest albums of the era, balancing genuine emotional darkness with melodically accessible songwriting that helped the band achieve significant mainstream commercial success. The Cure's combination of gloomy, introspective lyrical themes with genuinely catchy pop songwriting on tracks like "Just Like Heaven" and "Friday I'm in Love" gave the band an unusual range spanning both the goth subculture's darker aesthetic and mainstream pop radio accessibility. Smith's continued leadership of the band across nearly five decades, despite numerous lineup changes among other members, has made The Cure one of the most enduringly influential acts associated with both new wave's broader commercial era and the specific goth rock subculture that developed partly in response to the band's atmospheric sound.

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• Depeche Mode

  Depeche Mode, formed in Basildon, England in 1980, built their sound almost entirely around electronic synthesizers rather than traditional guitar-based rock instrumentation, becoming one of the most commercially significant and influential purely electronic bands to emerge from new wave's broader early-1980s movement. The band's evolution from relatively lighthearted synth-pop on their earliest albums toward darker, more industrial and BDSM-influenced imagery on mid-1980s releases like Black Celebration and Music for the Masses reflected a deliberate artistic maturation that distinguished their later catalog from more straightforwardly upbeat synth-pop contemporaries. Depeche Mode's 1990 album Violator, featuring the hit single "Personal Jesus," became a massive commercial breakthrough in the United States specifically, and the band's Los Angeles concert during that album's tour drew a riot when far more fans showed up for a promotional in-store appearance than the venue could safely accommodate. The band's sustained commercial and critical relevance across more than four decades, continuing to release new material and tour arenas well into the 2020s, has made Depeche Mode one of the most enduringly significant purely electronic bands in the history of popular music.

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• Devo

  Devo, formed in Akron, Ohio in the early 1970s, built an elaborate conceptual identity around the theory of "de-evolution," a satirical premise arguing that human society was regressing rather than progressing, and the band's deliberately robotic, jerky performance style and matching red "energy dome" hats became one of new wave's most instantly recognizable visual aesthetics. Their 1980 song "Whip It" became the band's biggest commercial hit, and its accompanying music video, one of the first to receive heavy rotation on the newly launched MTV, helped establish Devo's satirical, deliberately dehumanized visual style as a significant influence on the broader new wave aesthetic. The band's formation was directly influenced by the 1970 Kent State shootings, which several members witnessed firsthand as students at the nearby university, and that traumatic event shaped the band's broader satirical, dystopian worldview embedded throughout their music and visual presentation. Devo's combination of genuinely satirical conceptual ambition and their catchy, danceable synthesizer-driven songwriting made them one of the most intellectually distinctive bands associated with new wave, and their visual and conceptual influence on subsequent new wave and electronic acts remains substantial.

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• Blondie

  Blondie, formed in New York in 1974 and closely associated with the CBGB punk scene, blended new wave with disco, reggae, and early hip-hop influences, and frontwoman Debbie Harry's platinum-blonde image and confident stage presence made her one of the most recognizable and influential female rock frontwomen of her era. Their 1979 single "Heart of Glass" successfully merged disco's four-on-the-floor dance rhythm with new wave's guitar-driven sound, becoming a massive commercial crossover hit that demonstrated new wave's genre-blending commercial flexibility during a period when disco and rock audiences were often considered culturally opposed. The band's 1981 song "Rapture" became one of the first songs featuring rap vocals to top the Billboard Hot 100, reflecting Blondie's early embrace of New York's then-emerging hip-hop scene and giving the genre significant mainstream exposure years before hip-hop achieved broader commercial recognition on its own. Harry's combination of genuine artistic curiosity across disco, reggae, and hip-hop influences, paired with her status as one of new wave's most recognizable visual icons, made Blondie one of the most genre-adventurous and commercially significant bands to emerge from New York's downtown punk and new wave scene.

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More in Music

• Naftule's Dream

  Naftule's Dream grew out of the Shirim Klezmer Orchestra, a Boston-area group that had already been playing traditional klezmer for 14 years before Newton, Massachusetts-born clarinetist Glenn Dickson and accordionist-songwriter Michael McLaughlin spun off a more adventurous, improvisation-focused outlet from within it. The band released two records on their own, "Search for the Golden Dreydl" in 1997 and "Smash, Clap" in 1998, before going on to record three further albums for composer John Zorn's Tzadik label under its Radical Jewish Culture series, a significant marker of downtown-avant-garde credibility. The Boston Globe praised the group for fusing "klezmer music, Phish-like improvisation, and radical Yiddish poetry," a description that captured how directly the band pushed past traditional acoustic klezmer instrumentation and arrangement. Their combination of their roots in a 14-year-old traditional klezmer orchestra and their three albums on John Zorn's boundary-pushing Tzadik label has made Naftule's Dream one of the most musically adventurous bands in the klezmer revival movement.

• Brave Old World

  Brave Old World formed in 1989 with members drawn from California, Chicago, New York, and Berlin, an unusually international lineup for a klezmer band, originally featuring clarinetist Joel Rubin, drummer Ben Bazyler, multi-instrumentalist Stu Brotman (a former member of 1960s rock band Kaleidoscope and a sideman for Canned Heat), keyboardist Alan Bern, and violinist Michael Alpert. Rubin was later replaced by Kurt Bjorling, musical director of the Chicago Klezmer Ensemble since 1984, bringing another deeply credentialed klezmer specialist into the lineup. The Washington Post called Brave Old World "the revival's first supergroup," noting that "every player is a virtuoso," and the band won first prize at the 1992 International Klezmer Festival in Safed, Israel, a significant early validation from within the genre's own community. Their combination of their genuinely international, virtuoso-level lineup and their 1992 Safed festival win has made Brave Old World one of the most artistically respected bands in the klezmer revival.

• Kapelye

  Kapelye was assembled in 1979 when ethnomusicologist Henry Sapoznik organized a group of musicians to perform at a klezmer lecture at Temple Beth-El in Providence, Rhode Island; the November 18, 1979 debut went well enough that the musicians agreed on the spot to keep performing together as a full-time band. The group took its name from the Yiddish word for "a band" and began actively researching and collecting turn-of-the-century klezmer recordings, drawing several members, including fiddler and vocalist Michael Alpert, from the overlapping Balkan music community. Their 1981 debut album, "Future & Past," mixed traditional Yiddish folk ballads with labor and political anthems and songs pulled directly from Yiddish theater, and the band followed it with "Levine & His Flying Machine" in 1985 and "Chicken" in 1987, before "Old-Time Jewish American Radio" became their most successful release. Their combination of Sapoznik's foundational archival research and their genre-launching 1981 debut album has made Kapelye one of the most historically significant bands in klezmer's modern revival movement.

• Andy Statman

  Andy Statman, born in New York City in 1950, started on banjo and guitar at 12 before switching to mandolin, which he studied briefly under lifelong friend David Grisman, and by 1970 he was playing in the experimental bluegrass group Country Cooking, followed by stints with David Bromberg's band. In 1975, Statman sought out klezmer clarinet legend Dave Tarras and became his protégé; Tarras wrote melodies specifically for him and eventually bequeathed Statman four of his own clarinets, deliberately passing the older master's living klezmer lineage directly to him. His late-1970s album "Jewish Klezmer Music" became a touchstone recording for that decade's klezmer revival, released alongside his mandolin-focused "Flatbush Waltz," and the National Endowment for the Arts later named him a National Heritage Fellow, the nation's highest honor in the traditional arts. His combination of his direct mentorship under Dave Tarras and his rare parallel mastery of klezmer clarinet and bluegrass mandolin has made Statman one of the most historically important figures in klezmer's modern revival.

• Giora Feidman

  Giora Feidman was born in 1936 in Buenos Aires to a family of klezmer musicians spanning his father, grandfather, and great-grandfather, and by 18 he was already leading clarinetist of the orchestra at Argentina's Teatro Colón before joining the Israel Philharmonic Orchestra in 1957 on the recommendation of conductor Paul Kletzki. He played with the Israel Philharmonic until 1974, then launched a solo career and was crowned "the King of Klezmer" in New York already in the 1970s, well before klezmer's broader American revival movement took hold in subsequent decades. In the early 1990s, Steven Spielberg invited Feidman to record alongside violinist Itzhak Perlman on the score for "Schindler's List," and Feidman's solo clarinet became a defining voice on that soundtrack, which went on to win the Academy Award. His combination of a multi-generational klezmer family lineage and his solo clarinet performance on the Oscar-winning "Schindler's List" score has made Feidman one of the most significant ambassadors for klezmer music worldwide.