page_title: Post-disco
section_title: Characteristics
hierarchical_section_title: Post-disco / Characteristics
caption_attribution_description: Moog Voyager YAMAHA CS-15D Dual Channel Synthesizer [1] The first Moog instruments were modular synthesizers. In 1971 Moog Music began production of the Minimoog Model D which was among the first widely available, portable and relatively affordable synthesizers. Unlike the modular synthesizer, the Minimoog was specifically designed as a self-contained musical instrument for keyboard players (besides the extremely user-friendly physical design, it also stayed in tune reasonably well) and was the first to really solidify the synthesizer's popular image as a "keyboard" instrument. The Minimoog became the most popular monophonic synthesizer of the 1970s, selling approximately 13,000 units between 1971 and 1982. Another widely used and extremely popular Moog synthesizer was the Taurus bass pedal synthesizer. Released in 1975, its pedals were similar in design to organ pedals and triggered synthetic bass sounds. The Taurus was known for a "fat" bass sound and was used by the bands Genesis, Rush, Electric Light Orchestra, Yes, Pink Floyd and many others. Production of the original was discontinued in 1981, when it was replaced by the Taurus II. Moog Music was the first company to commercially release a keytar, the Moog Liberation. -wikipedia-
context_page_description: Post-disco is a term to describe an aftermath in popular music history circa 1979–1984, imprecisely beginning with an unprecedented backlash against disco music in the United States, leading to civil unrest and a riot in Chicago known as the Disco Demolition Night on July 12, 1979, and indistinctly ending with the mainstream appearance of new wave in the early 1980s. Disco during its dying stage displayed an increasingly electronic character that soon served as a stepping stone to new wave, old-school hip hop, euro disco and was succeeded by an underground club music called hi-NRG, which was its direct continuation.
  An underground movement of disco music, "stripped-down", and featuring "radically different sounds" took place on the East Coast that "was neither disco and neither R&B", This scene known as post-disco catering to New York metropolitan area, was initially led by urban contemporary artists partially in response to the over-commercialization and artistic downfall of disco culture. Developed from the rhythm and blues sound as perfected by Parliament-Funkadelic, the electronic side of disco, dub music techniques, and other genres.
context_section_description: Drum machines, synthesizers, sequencers were either partly or entirely dominant in a composition or mixed up with various acoustic instruments, depending on the artist and on the year. Electronic instruments became more and more prevalent for each year during the period and dominated the genre completely by the mid 1980s.
  Darryl Payne argued about the minimal approach of post-disco, saying:
  Producers are using a lot more sounds and a lot less instruments: the 'Forget Me Nots' and 'Don't Make Me Wait tracks' are really empty, but there's a sophistication people can get into.
  The main force in post-disco was mainly the 12" single format and short-lived collaborations (many of them one-hit wonders) while indie record producers were instrumental in the musical direction of what the scene was headed to. The music that mostly catered to dance and urban audiences later managed to influence more popular and mainstream acts like Madonna, New Order or Pet Shop Boys.
caption: Synthesizers played a crucial part in the development of post-disco.
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