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But dig a little deeper and you’ll realize that “Science Fiction,” and Letissier’s Christine and the Queens project as a whole, is about so much more than musical hero worship. Christine and the Queens, “Science Fiction”Īt first listen, the rolling bass line and buoyant synthesizers on French alt-pop star Christine and the Queens’ “Science Fiction” sound uncannily like Michael Jackson’s “Billie Jean.” Couple that with the fact that Christine (the moniker of singer Heloise Letissier) has a penchant for wearing menswear and doing a fair amount of stiff, hip-thrusting moves, and at surface level she could come off as stridently worshiping the king of pop. And you know what else won’t be weird, soon enough? Hearing this song blasted at a wedding with at least one dude playing air-keytar during the solos. “The ‘80s and some of the ‘90s was a time when weird was celebrated,” he later said. Singer Nick Petricca wrote the song after a night out at a club with his girlfriend, later citing Pat Benatar, the Cars, and Rick Springfield as influences. The quartet’s 2014 hit opens with a riff that’s almost an exact copy of U2’s “Where the Streets Have No Name.” You can get mad about that or, as the title suggests, get off your ass and enjoy the moment.

The music aside, even Ware’s voice is awash in that unmistakably emotive, acrobatic style of the Cocteau Twins’ Elizabeth Fraser. I pray Prince heard it at least once while he was still alive. drum kicks (producer Benny Blanco’s touch), hits all the purple notes. “Tough Love,” with its breathy vocals and classic Bobby Z. It’s not every day you come across a song that oozes Prince and isn’t also an insult to his memory. What ‘80s goth wouldn’t love putting on mascara to lyrics like “Your eyes are black x’s/Of hate and of hexes”? -Dan Reilly “Lost Boys and Girls Club,” the album’s first single, opens with a reverb-heavy guitar pattern reminiscent of the Smiths’ “How Soon Is Now” before powering into gloomier Jesus and Mary Chain–Cure territory.

Dum Dum Girls, “Lost Boys & Girls Club”Īfter years of making lo-fi, girl-group-inspired garage rock, Dum Dum Girls took on a darker vibe for their third full-length, 2014’s Too True. The women of MUNA try to get over great love lost on “Winterbreak.” The track could easily be mistaken for Sade, with gorgeous harmonies and keyboards that drip like water out of a faucet. Here are the ones we consider to be the 50 best, lovingly presented with respect and awe for that amazing, strange, and often groundbreaking era. There are countless tracks since 2010 (the time frame we’re using as our definition of “modern”) that borrow from the ‘80s, and a great deal of them should be embarrassed by neither their sound nor its provenance. And a new crop of musicians, from pop stars to indie darlings, embraced those sounds, emulating them in the same way other artists repurposed the blues, classic ‘60s rock, and ‘70s punk. The cool kids appreciated the tracks without sarcasm. Critics came around to laud the achievements of ‘80s artists they once dismissed. But then fans who grew up secretly loving those songs stopped being embarrassed. Owing to an array of one-hit wonders who overstuffed their tunes with synthesizers and went a little too heavy on the Aqua Net, it’s often easy to dismiss the music of the 1980s - and for a long time, many people did. Photo-Illustration: Maya Robinson/VultureĪll week on Vulture, we’re examining ‘80s pop culture, and how it lives on today.