Experimental pop

[4] Often, the compositional process involves the use of electronic production effects to manipulate sounds and arrangements,[2] and the composer may draw the listener's attention specifically with both timbre and tonality, though not always simultaneously.

[13] Grubbs further explains that some of the most prominent avant-garde musicians who formed rock bands in the mid 1960s were the Welsh John Cale (later of the Velvet Underground) and the American Joseph Byrd (later of the United States of America), who both went on to create albums of experimental pop music.

"[15] Co-founder and leader Brian Wilson wrote and produced songs for the group that ranged from massive hits to obscure experimental pop compositions.

[16][nb 3] Their 1966 single "Good Vibrations", also produced and co-written by Wilson, topped record charts internationally, subsequently proliferating a wave of pop experimentation with its rush of riff changes, echo chamber effects, and intricate harmonies.

[23] By the late 1960s, highly experimental pop music, or sounds that expanded the idea of the typical popular song, was positively received by young audiences, which cultural essayist Gerald Lyn Early credits to bands like Cream, Traffic, Blood, Sweat & Tears, and "of course", the Beatles.

"[32] Following his departure from Roxy Music in 1973, Eno began releasing a series of solo albums where he simultaneously developed his ambient, pop, and electronic styles.

"[33] Members of Roxy Music, Free, Fairport Convention, Can and Cluster feature on the record as session musicians in addition to Phil Collins, who performs drums on one track.

[37] Landy noted the tendency of experimental pop artists such as Eno and David Byrne to build tracks around existing recordings, effectively fusing different styles, a technique used on the duo's 1981 album My Life in the Bush of Ghosts.

[38] The New York Times' Will Hermes names Laurie Anderson an experimental pop pioneer whose signature song "O Superman" (1981) was a "left-field new wave hit" that "conflated maternal succor with the psychology of the modern corporate state using electronically processed verse.

"[39] Writing for The Guardian, Jason Cowley described British singer-songwriter Kate Bush as "an artist superbly articulate in the language of experimental pop music".

[40] Paste Magazine credited My Bloody Valentine's 1988 album Isn't Anything with showcasing an experimental pop aesthetic, which drew on "harsh, swirling guitar tones and beautifully dissonant distortion," that would eventually develop into the genre known as shoegazing.

[43] The record label Hippos in Tanks, founded by Barron Machat in 2010, was associated with Internet age experimental pop that drew on disparate sources such as new wave, avant-garde noise, R&B, and techno.