Posted on 04/29/2008
The continued nostalgia for all things New Wave yields the domestic release of the compilation B.I.P.P.P.: French Synth Wave 1979-85. The thirteen tracks represent a quality gathering of several obscure acts and their hits that never were, but one that will likely find a great deal of resonance in a time when New Wave, No Wave, Italo Disco, and various other 1980s electro-influenced sub-genre are experiencing a resurgence of interest. Past or present, French electronic acts in particular seem to hold a sway of influence over the U.S.; intersected with the previous aspects this compilation is a very timely release indeed. As is generally understood of New Wave in general, many of the songs are clearly punk-derived, being essentially punk with keyboards and studio effects (as in Act’s “Ping Pong”). A little more surprising is that some tracks, such as TGV’s “Partie I,” have shed guitars and organic instruments entirely, moving that much closer to pure electro territory. It becomes apparent during the course of the compilation that the electronics are a much more dominating force in the sound of this scene than in many of the classic New York New Wave counterparts, where electronics tend to compliment traditional rock instrumentation rather than become the defining feature. This seems to explain the use of the term “Synth Wave” in the title as a means of further distinguishing the sound beyond simply “New-Wave-en-français.”

“It’s a pretty day to die, my blue eyes and your black eyes…” sings Marie Möör in one of the few English-language lines on the album, indicative of the usually dark aesthetic. The music might suggest punk rock gradually warming up to dance and pop, but aggression and subversion remain imbedded in the attitude. One of the main faults of the release is that more information is not provided about the artists and scene being represented, allowing for greater insight into and understanding of this attitude as it relates to the culture of which it is part. We might assume that our understanding of New Wave scenes in New York, UK, and Germany might have some application here, but without proper background we may fail to grasp certain subtleties that define the scene in its own cultural context and might in turn project other aspects that are not truly applicable.

Even without detailed liner notes, admittedly not important to everyone, it’s a satisfying collection of some very catchy songs. Language barriers will not prevent you from unconsciously singing “PING! PONG!” as you drive along, or from marveling that such music should have ever been obscure at all.

- Justin Deremo