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New wave of new wave

The New Wave of New Wave (NWONW), also known as the New Wave revival, was a short-lived subgenre of British alternative rock that emerged in 1993 and peaked in 1994, characterized by a revival of the energetic, guitar-driven sounds and provocative aesthetics of late-1970s new wave music, such as those pioneered by bands like Blondie and Talking Heads.^[1]^[2] Coined by music journalists at publications like NME, the term described a media-driven movement that filled a brief cultural gap between the dominance of American grunge and the rise of Britpop, featuring mod-glam-punk influences, high-energy live performances, and lyrics focused on hedonism and rebellion over technical musicianship.^[1]^[2] Key bands associated with NWONW included SMASH, These Animal Men, Blessed Ethel, and early iterations of Elastica, which later transitioned into the Britpop scene.^[1]^[2]^[3] A pivotal event was the "New Art Riot" showcase at London's 100 Club in December 1993, which highlighted these acts and generated buzz in the music press, with NME proclaiming SMASH as potential "band of '94."^[2] Despite initial hype tied to indie labels like Fierce Panda, the movement produced limited commercial output—SMASH released one album, Self Abused (1994), while These Animal Men issued two, including (Come on) Join the High Society (1994)—and largely dissipated by 1998.^[2]^[1] The NWONW's rapid decline stemmed from its perception as a contrived press invention lacking enduring appeal, coupled with the overshadowing arrival of Britpop's more anthemic, guitar-pop focus and the "Loaded" lad culture of the mid-1990s, which prioritized chart success over the scene's raw, surface-level provocation.^[2]^[1] Though often dismissed retrospectively as a "punchline to Britpop's joke," the movement briefly captured a moment of post-grunge experimentation in British rock, influencing later indie revivals and underscoring the music press's role in shaping transient trends.^[2]^[3]

Definition and Origins

Definition and Terminology

The new wave of new wave (NWONW) refers to a subgenre of British alternative rock that emerged in the early 1990s, marked by a deliberate revival of stylistic elements from the post-punk and new wave movements of the late 1970s and early 1980s.^[4] This revival emphasized angular guitar riffs, energetic rhythms, and a DIY ethos reminiscent of the original new wave era, positioning NWONW as a nostalgic counterpoint to the prevailing grunge dominance.^[5] Unlike broader alternative rock trends, it focused on concise, hook-driven songs that blended punk urgency with pop accessibility, often delivered through raw, guitar-centric arrangements.^[4] The terminology "new wave of new wave" was coined by music journalist Paul Moody in a January 1994 issue of New Musical Express (NME), where it was used to highlight a cluster of emerging acts drawing from earlier punk and new wave traditions.^[6] It is also interchangeably referred to as "new new wave" or abbreviated as NWONW in music writing of the period.^[7] This label distinguished the movement as a transient phenomenon, centered on quirky, guitar-driven rock that prioritized revivalist energy over groundbreaking innovation, lasting primarily from late 1993 to mid-1994.^[8] In terms of scope, NWONW was predominantly a British phenomenon, confined to the indie and alternative scenes in London and surrounding areas, arising in the post-grunge landscape and just before the rise of Britpop.^[5] It represented a media-driven push by outlets like NME to spotlight homegrown talent amid international rock shifts, underscoring a return to angular, post-punk-inspired sounds rather than novel experimentation.^[4]

Influences from Original New Wave

The New Wave of New Wave (NWONW) emerged as a revival that directly echoed the sonic and stylistic innovations of the original new wave and post-punk movements from the late 1970s and early 1980s, adapting their guitar-driven energy and experimental edge to the British alternative rock landscape of the early 1990s. This influence manifested in a return to choppy rhythm guitars, fast tempos, and a blend of rock instrumentation with occasional electronic elements, reflecting the original genre's departure from traditional rock structures.^[4] Specific borrowings included the angular, staccato guitar riffs pioneered by post-punk acts like Wire, which provided a foundation for the revival's taut, riff-centric sound. Similarly, the pop-infused hooks and glamorous yet accessible aesthetics of Blondie informed the melodic catchiness and visual flair in NWONW, emphasizing sharp, memorable songwriting over raw aggression. The raw, organ-driven edge reminiscent of The Stranglers contributed to the genre's gritty undercurrent, blending menace with tunefulness in a way that updated the original new wave's rebellious spirit.^[9]^[10]^[11]^[11]^[12] Culturally, NWONW inherited the DIY ethos and anti-establishment attitudes of the original new wave, rooted in punk's rejection of mainstream excess, but reframed them within the indie scene's emphasis on authenticity and grassroots promotion amid the post-grunge era. This adaptation preserved the ironic, witty detachment and whimsical themes common in early new wave, using them to critique 1990s consumer culture while fostering a sense of playful rebellion. Synthesizer elements, quirky and prominent in the originals, were selectively revived to add textural novelty without dominating the guitar focus.^[4]

Historical Development

Emergence in the Early 1990s

The New Wave of New Wave (NWONW) began to take shape in late 1993 as a distinct movement within the British alternative rock scene, emerging primarily as a counterpoint to the overwhelming influence of American grunge acts that had dominated global airwaves since the early 1990s. This period marked a pivotal shift, with UK musicians and journalists expressing a desire for more energetic, locally inspired sounds that contrasted the brooding introspection of grunge. The term "New Wave of New Wave" was coined by music press writers to encapsulate this budding revival, first appearing in print around October 1993 in coverage of emerging acts.^[13]^[14] Key catalysts included aggressive promotional campaigns by influential publications like the NME, which highlighted the scene in features and year-end predictions, positioning it as a fresh alternative for 1994. These efforts extended to events and supplements that showcased up-and-coming talent, fostering a sense of momentum amid the evolving alternative rock landscape. Concurrently, the rise of independent labels such as Fierce Panda—launched in February 1994 by three former NME journalists—provided crucial infrastructure, releasing compilation EPs that captured the era's excitement and sold out rapidly upon debut.^[5]^[15]^[16] This emergence coincided with broader interest in post-punk revivalism, as the British music press sought to reclaim narrative control from Seattle's sound by emphasizing witty, upbeat aesthetics rooted in the original new wave of the late 1970s and early 1980s. By early 1994, NWONW had gained enough traction for dedicated coverage in outlets like Melody Maker, signaling its brief but intense arrival as a media-driven phenomenon.^[7]^[17]

Peak and Decline

The peak of the New Wave of New Wave (NWONW) occurred in 1994, a year marked by intense media attention and vibrant live activity that positioned the movement as a fresh revival of post-punk energy. Critics such as Robert Christgau highlighted 1994 as the zenith of this wave, describing it as the "top of a curve" where alternative rock's countercultural momentum was fully absorbed by the music industry, leading to widespread commercial breakthroughs for guitar-driven acts.^[18] NME amplified this hype in its January 15, 1994, issue, featuring NWONW bands in its annual tips for the year and framing the scene as a proto-Britpop phenomenon akin to the 1970s New Wave of British Heavy Metal.^[5] This buzz was underscored by electrifying live performances, including a promotional gig at London's LA2 on the same date, showcasing emerging acts and drawing significant crowds to affirm the scene's momentum.^[5] A pivotal event during this height was the release of the compilation Shagging in the Streets on February 24, 1994, by Fierce Panda Records, which captured the NWONW ethos with tracks from six key bands and sold out within a single day, signaling robust initial demand and label enthusiasm for the "suspiciously groovy" movement. Building on the catalytic buzz from late 1993 gigs and press coverage, this EP exemplified the scene's rapid escalation into a cohesive, hype-fueled entity.^[16] The combination of NME's endorsements and sold-out shows fostered a sense of inevitability, with journalists portraying NWONW as the antidote to grunge's burnout and a bridge to broader indie revivalism.^[1] The decline began abruptly by mid-1995, as the explosive rise of Britpop overshadowed NWONW's punk-inflected sound, shifting media and audience focus toward guitar-pop anthems from acts like Blur and Oasis. Internal challenges exacerbated this fade, including band breakups—such as SMASH's dissolution in 1996—and a lack of sustained commercial success, where strong press support failed to translate into record sales, prompting backlash from outlets that had initially championed the scene.^[19] Described as "brilliantly short-lived," NWONW lost its distinct identity as Britpop dominated by 1995, with even NWONW-adjacent bands like Elastica realigning toward the new trend.^[1] By the late 1990s, the movement had effectively ended, reduced to a fleeting media construct without lasting cohesion or output.^[20]

Musical Style and Characteristics

Key Elements

The New Wave of New Wave (NWONW) was characterized by guitar-driven rock arrangements featuring angular riffs and memorable hooks, drawing directly from post-punk and new wave traditions to create a sharp, propulsive sound. These elements were often complemented by the incorporation of keyboards and synthesizers, which added a distinctive electronic texture reminiscent of 1970s and 1980s new wave while maintaining a rock foundation. Upbeat tempos and concise pop song structures further defined the genre, emphasizing accessibility and rhythmic drive over complexity.^[21]^[22] In terms of production, NWONW adopted a raw, indie aesthetic that prioritized live energy and immediacy, often recorded with minimal polish to capture the aggression of post-punk alongside the melodic catchiness of new wave. This approach blended confrontational intensity with hooks designed for replayability, resulting in a sound that felt urgent and unrefined, contrasting with the more produced styles of contemporaneous grunge or emerging Britpop.^[23]^[7] Lyrically, the movement explored themes of hedonism, rebellion, sex, and violence, often through provocative and ironic commentary on youth and British culture, as seen in SMASH's "(I Want To) Kill Somebody" with its anti-authority hit-list chorus.^[2] These themes echoed the original new wave's playful detachment while reflecting the 1990s context of social upheaval and millennial anxiety.

Subgenres and Variations

Other variations in NWONW included blends with mod revival aesthetics, where acts adopted sharp, angular punk-filtered structures inspired by 1970s mod rock.^[23] Some incorporated glam rock influences, introducing theatrical androgyny and flamboyant visual flair to the revival. By 1994, portions of NWONW evolved toward more pop-oriented expressions, refining punk edges into accessible, melody-driven forms that bridged to broader alternative movements.^[1] These offshoots differed from core NWONW traits by emphasizing experimental niches, such as synthesizer dominance and unconventional asymmetry, over prevalent guitar-driven arrangements.

Notable Artists and Releases

Prominent Bands

Elastica emerged as angular punk-pop leaders within the new wave of new wave (NWONW) scene, formed in London in 1992 by guitarist and vocalist Justine Frischmann and drummer Justin Welch after their departure from Suede. The mixed-gender lineup, which later included guitarist Donna Matthews and bassist Annie Holland, signed to indie label Deceptive Records and gained attention with their debut single "Stutter" in 1993, followed by the self-titled album in 1995 that showcased sharp, post-punk-inspired riffs tied to NWONW's revivalist energy.^[11] Their role highlighted the scene's blend of gender diversity and angular aesthetics, influencing broader Britpop currents.^[24] SMASH exemplified raw energy in NWONW through their intense live performances and hedonistic punk ethos, originally formed in 1984 in Welwyn Garden City but peaking in the mid-1990s with an all-male lineup of vocalist/guitarist Ed Borrie, bassist Salvador Alessi, and drummer Rob Hague.^[25] Affiliated with indie label Hi-Rise Recordings, they released key singles like "Real Surreal" and "Shame" in 1994, culminating in their debut album Self Abused that year, which captured the movement's caustically tuneful aggression.^[26] Their contributions emphasized NWONW's connection to punk's visceral immediacy, though commercial success was limited.^[2] These Animal Men represented hedonistic rockers in the NWONW fold, an all-male Brighton outfit formed in 1989 and signed to indie imprint Hut Records in 1993.^[27] Fronted by vocalist Pete Williams, they debuted with the high-octane single "Speed King" in 1994, followed by their album (Come On, Join) The High Society later that year, embodying the scene's defense of rock 'n' roll excess amid media hype.^[28] Their swaggering style and major-label aspirations underscored NWONW's short-lived buzz before the band's 1998 split.^[8] Blessed Ethel, a Malvern-based indie rock band formed in the early 1990s, contributed to the NWONW scene with their energetic punk-inflected sound, led by vocalist Sara Doran alongside guitarist Dan Barnes and bassist Mike Harris. Signed to Big Pop Records, they released singles like "Rat" in 1994 and their debut album Welcome to the Rodeo in 1996, capturing the movement's raw provocation and mod-punk influences.^[29] Diverse scene participants included Menswear, an all-male group formed in Camden in 1994 and signed to Laurel Records, whose witty singles like "Daydreamer" in 1995 reflected NWONW's poppier edges.^[30] Sleeper, a mixed-gender band established in 1992 in London on indie label Indolent, contributed with Louise Wener's sardonic vocals on tracks like "Inbetweener" (1995), tying into the movement's post-punk wit. Echobelly, featuring mixed lineup with Sonya Madan on vocals, formed in 1992 and released "I Can't Imagine the World Without Me" in 1994 via Epic, blending NWONW influences with diverse cultural perspectives. Shed Seven, all-male from York and active from 1990 on Polydor, brought anthemic energy with singles like "Dolphin" (1994), while Compulsion, a mixed Dublin-based act formed in 1991 on One Little Indian, added experimental rawness via their 1994 debut Comforter.^[8] These bands illustrated NWONW's varied indie affiliations and lineup dynamics, from all-male rockers to gender-balanced ensembles.^[7]

Key Albums and Compilations

One of the defining releases of the New Wave of New Wave (NWONW) was Elastica's self-titled debut album, released in March 1995 by Deceptive Records in the UK and Geffen Records internationally.^[31] The album featured angular, punk-inflected tracks that captured the scene's raw energy, with the single "Connection" serving as a breakthrough hit, peaking at number 17 on the UK Singles Chart and earning widespread radio play that propelled the band to prominence. Its taut riffs and minimalist structure exemplified NWONW's nod to 1970s post-punk while achieving commercial traction, contributing to the album's critical acclaim as a cornerstone of mid-1990s British guitar music.^[32] SMASH's debut mini-album, Spring 1994, issued in 1994 by Hi-Rise Recordings, marked an early milestone for the movement with its blistering, irreverent punk tracks compiled from the band's initial singles.^[33] The release included songs like "Lady Love Your Cunt" and "Shame," which resonated with NWONW's irreverent ethos and helped secure the trio's spot in the scene through NME coverage and a Top of the Pops appearance for the follow-up single "Real Surreal."^[34] This compact collection, blending garage rawness with pop hooks, provided a blueprint for the short-lived but influential NWONW sound.^[35] Compilations played a crucial role in documenting and amplifying NWONW acts, with Shagging in the Streets (1994) standing out as a seminal Fierce Panda Records tribute.^[36] Released as a 7-inch vinyl featuring emerging bands like SMASH, These Animal Men, and others, it showcased the scene's punk revivalism through high-energy, lo-fi contributions that captured the underground buzz before major label interest.^[37] The compilation's raw, street-level vibe helped foster a sense of collective identity among NWONW groups, influencing subsequent anthologies like the 2023 New Wave of New Wave box set.^[6] Early singles and EPs further drove NWONW's charting momentum and exposure, exemplified by Menswear's "Daydreamer," released in June 1995 on Laurel/ London Records. The track, with its jangly mod-pop sheen, reached number 14 on the UK Singles Chart, marking one of the scene's highest placements and drawing comparisons to 1960s influences while boosting the band's visibility through TV performances.^[38] Such releases, alongside Elastica's preceding EPs like Circus (1995), provided accessible entry points that translated underground hype into broader audience reach, solidifying NWONW's brief but vibrant discographic footprint.^[31]

Cultural Context and Legacy

Relation to Britpop and Broader Movements

The New Wave of New Wave (NWONW) served as a key precursor to Britpop, emerging in late 1993 and early 1994 as a short-lived movement within the British indie scene that shared stylistic and cultural roots with the later genre's emphasis on guitar-driven pop and British identity.^[5] Many NWONW acts, such as Sleeper, transitioned seamlessly into the Britpop era, evolving from their initial punk-inflected sound on debut releases like Smart (1995) to more anthemic, chart-oriented material that aligned with Britpop's mainstream breakthrough.^[39] This overlap highlighted NWONW's role in revitalizing UK indie rock amid the global dominance of American grunge, providing a distinctly British alternative that Britpop would amplify.^[4] NWONW also exhibited strong ties to the post-punk revival of the early 1990s, drawing on angular guitar riffs, witty lyrics, and energetic rhythms reminiscent of 1970s and 1980s acts like The Jam or X-Ray Spex, while incorporating mod revival elements such as sharp tailoring and power-pop hooks in bands like Elastica.^[8] In contrast to grunge's raw, introspective distortion and Seattle-centric scene, NWONW emphasized upbeat, sardonic energy and a rejection of American rock hegemony, fostering a homegrown response that prioritized melody over angst.^[40] The NME played a pivotal role in bridging NWONW to the Oasis-led Britpop explosion, coining the term in 1993-1994 to hype emerging bands as a "prototype" for a new British sound and featuring them prominently in tips lists that foreshadowed Britpop's rise.^[5] This positioning cast NWONW as a transitional "warm-up act," quickly overshadowed by 1994's louder, more bombastic Britpop wave, yet essential in building media momentum and audience appetite for UK-centric rock.^[41]

Critical Reception and Lasting Influence

The New Wave of New Wave (NWONW) garnered significant initial attention from the British music press in the early 1990s, with New Musical Express (NME) prominently featuring it in their January 1994 issue as a promising revival of punk and new wave influences amid the post-grunge landscape.^[5] This hype positioned NWONW bands as an "exciting" counterpoint to emerging Britpop, emphasizing their energetic, angular sound and youthful attitude.^[8] However, critical reception soured quickly, with the movement often dismissed as superficial and short-lived by the mid-1990s. Music journalist John Harris, who helped coin the term, later critiqued it in The Guardian as "Britpop without the good bits," highlighting its lack of substance compared to the songwriting depth of contemporaries like Blur or Oasis.^[42] Reviews frequently pointed to NWONW's emphasis on fashion and image over musical innovation, noting its ephemeral nature as a press-driven fad rather than a substantive evolution.^[43] Mixed assessments persisted into retrospective analyses, praising the raw energy of bands like Elastica while lamenting the scene's failure to develop beyond initial buzz.^[44] Despite its brevity, NWONW contributed to the broader revival of post-punk and new wave aesthetics in the 2000s, as acts like Franz Ferdinand and The Killers drew on angular riffs and synth elements from 1970s-1980s influences in a more polished form, with the 1990s movement representing an early step in ongoing British indie experimentation.^[4] The movement also impacted UK rock fashion and attitude, popularizing Adidas sportswear and a scruffy, Camden-inspired post-punk look that echoed into early 2000s indie scenes. NWONW's reach remained largely confined to the UK, with limited international spread due to its reliance on domestic press promotion and overshadowing by global grunge and Britpop trends.^[6] Sporadic revivals in indie circles have since echoed its synth-pop leanings, influencing niche acts in the 2010s and 2020s that blend retro new wave with contemporary electronic elements, including reissues of key albums by bands like These Animal Men and SMASH as late as 2017.^[45]^[6]

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