Post-punk: Difference between revisions
The brasilian bands Legiao Urbana, Titãs and Ira! are only know on Brasil, and are completly irrelevant on the Post Punk world scenery. |
No edit summary |
||
| Line 22: | Line 22: | ||
During the first wave of punk, roughly spanning 1974–1978, acts such as the [[Sex Pistols]], [[The Clash]], [[The Ramones]], [[Patti Smith]] and [[The Damned]] began to challenge the current styles and conventions of rock music by stripping the musical structure down to a few basic chords and progressions with an emphasis on speed. Yet as punk itself soon came to have a signature sound, a few acts began to experiment with more challenging musical structures, lyrical themes, and a self-consciously art-based image, while retaining punk's initial iconoclastic stance. |
During the first wave of punk, roughly spanning 1974–1978, acts such as the [[Sex Pistols]], [[The Clash]], [[The Ramones]], [[Patti Smith]] and [[The Damned]] began to challenge the current styles and conventions of rock music by stripping the musical structure down to a few basic chords and progressions with an emphasis on speed. Yet as punk itself soon came to have a signature sound, a few acts began to experiment with more challenging musical structures, lyrical themes, and a self-consciously art-based image, while retaining punk's initial iconoclastic stance. |
||
{{wikinews|Vivien Goldman: An interview with the Punk Professor}} |
{{wikinews|Vivien Goldman: An interview with the Punk Professor}} |
||
Classic examples of post-punk outfits include [[The Psychedelic Furs]], [[Devo]], [[The Birthday Party (band)|The Birthday Party]], [[The Fall (band)|The Fall]], [[Siouxsie and the Banshees]], [[Lords of the New Church]], [[Joy Division]], [[New Order]], [[Killing Joke]], [[Echo & the Bunnymen]], [[The Cure]], [[Bauhaus (band)|Bauhaus]], [[Magazine (band)|Magazine]], [[Wire (band)|Wire]], [[Talking Heads]], and [[Tubeway Army]]. Bands such as [[Crass]] also came within the scope of post-punk, as with several outfits formed in the wake of traditionally punk rock groups: [[Magazine (band)|Magazine]] was formed by a member of [[Buzzcocks]], for instance, and [[Public Image Ltd]] derived from the Sex Pistols. A list of predecessors to the post-punk genre of music might include [[Television (band)|Television]], whose album ''[[Marquee Moon]]'', although released in 1977 at the height of the punk movement, is considered definitively post-punk in style. Other groups, such as The Clash, remained predominantly punk in nature, yet were inspired by the experimentalism of the post-punk movement, most notably in their album ''[[Sandinista!]]''. |
Classic examples of post-punk outfits include [[The Sounds]], [[Section 25]], [[Sad Lovers and Giants]], [[The Chameleons]], [[The Psychedelic Furs]], [[Devo]], [[The Birthday Party (band)|The Birthday Party]], [[The Fall (band)|The Fall]], [[Siouxsie and the Banshees]], [[Lords of the New Church]], [[Joy Division]], [[New Order]], [[Killing Joke]], [[Echo & the Bunnymen]], [[The Cure]], [[Bauhaus (band)|Bauhaus]], [[Magazine (band)|Magazine]], [[Wire (band)|Wire]], [[Talking Heads]], and [[Tubeway Army]]. Bands such as [[Crass]] also came within the scope of post-punk, as with several outfits formed in the wake of traditionally punk rock groups: [[Magazine (band)|Magazine]] was formed by a member of [[Buzzcocks]], for instance, and [[Public Image Ltd]] derived from the Sex Pistols. A list of predecessors to the post-punk genre of music might include [[Television (band)|Television]], whose album ''[[Marquee Moon]]'', although released in 1977 at the height of the punk movement, is considered definitively post-punk in style. Other groups, such as The Clash, remained predominantly punk in nature, yet were inspired by the experimentalism of the post-punk movement, most notably in their album ''[[Sandinista!]]''. |
||
Championed by late night [[BBC]] [[disc jockey]] [[John Peel]] and record label/shop [[Rough Trade Records|Rough Trade]] (amongst others, including [[Postcard Records]], [[Factory Records]], [[4AD|Axis/4AD]], [[Falling A Records]], [[Industrial Records]], [[Fast Product]], and [[Mute Records]]), "post-punk" could arguably be said to encompass many diverse groups and musicians. |
Championed by late night [[BBC]] [[disc jockey]] [[John Peel]] and record label/shop [[Rough Trade Records|Rough Trade]] (amongst others, including [[Postcard Records]], [[Factory Records]], [[4AD|Axis/4AD]], [[Falling A Records]], [[Industrial Records]], [[Fast Product]], and [[Mute Records]]), "post-punk" could arguably be said to encompass many diverse groups and musicians. |
||
Revision as of 17:44, 18 April 2009
 | This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these messages)
No issues specified. Please specify issues, or remove this template. |
| Post-punk | |
|---|---|
| Stylistic origins | Punk rock, Glam rock, Dub, Funk, Reggae, Krautrock, Avant-garde art movements, Experimental music, World music |
| Cultural origins | Late 1970s, United Kingdom, United States |
| Typical instruments | Drums - Guitar - Bass guitar - Synthesizer - Keyboard - Drum machine - Modified electronics |
| Derivative forms | Alternative rock - Deathrock-Gothic rock - Indie rock - Post-punk revival - Post-hardcore |
| Subgenres | |
| Gothic rock (complete list) | |
| Regional scenes | |
| Dutch Ultra - German Neue Deutsche Welle - French Coldwave - | |
| Other topics | |
| Post-hardcore - Industrial music - New Wave - No Wave | |
Post-punk was a popular musical movement with its roots in the mid to late 1970s, following on the heels of the initial punk rock explosion of the early 1970s. The genre retains its roots in the punk movement but is more introverted, complex and experimental.[1] Post-punk laid the groundwork for alternative rock by broadening the range of punk and underground music, incorporating elements of Krautrock (particularly the use of synthesizers and extensive repetition), Jamaican dub music (specifically in bass guitar), American funk, studio experimentation, and even punk's traditional polar opposite, disco, into the genre.
It found a firm place in the 1980s indie scene, and led to the development of genres such as gothic rock, industrial music and alternative rock.
History
- See also List of post-punk bands.
During the first wave of punk, roughly spanning 1974–1978, acts such as the Sex Pistols, The Clash, The Ramones, Patti Smith and The Damned began to challenge the current styles and conventions of rock music by stripping the musical structure down to a few basic chords and progressions with an emphasis on speed. Yet as punk itself soon came to have a signature sound, a few acts began to experiment with more challenging musical structures, lyrical themes, and a self-consciously art-based image, while retaining punk's initial iconoclastic stance.
Classic examples of post-punk outfits include The Sounds, Section 25, Sad Lovers and Giants, The Chameleons, The Psychedelic Furs, Devo, The Birthday Party, The Fall, Siouxsie and the Banshees, Lords of the New Church, Joy Division, New Order, Killing Joke, Echo & the Bunnymen, The Cure, Bauhaus, Magazine, Wire, Talking Heads, and Tubeway Army. Bands such as Crass also came within the scope of post-punk, as with several outfits formed in the wake of traditionally punk rock groups: Magazine was formed by a member of Buzzcocks, for instance, and Public Image Ltd derived from the Sex Pistols. A list of predecessors to the post-punk genre of music might include Television, whose album Marquee Moon, although released in 1977 at the height of the punk movement, is considered definitively post-punk in style. Other groups, such as The Clash, remained predominantly punk in nature, yet were inspired by the experimentalism of the post-punk movement, most notably in their album Sandinista!.
Championed by late night BBC disc jockey John Peel and record label/shop Rough Trade (amongst others, including Postcard Records, Factory Records, Axis/4AD, Falling A Records, Industrial Records, Fast Product, and Mute Records), "post-punk" could arguably be said to encompass many diverse groups and musicians.
The influence of this "new sound" was significantly carried throughout the world. Although many North American and other non-British bands failed to achieve worldwide recognition, some notable exceptions include North Americans Pere Ubu, Suicide, Mission of Burma, and early Hüsker Dü, Australia's The Birthday Party and The Church, Ireland's U2 and The Virgin Prunes.
Around 1977, in North America, the New York-led No Wave movement was also tied in with the emerging eurocentric post-punk movement. With bands and artists such as Teenage Jesus and the Jerks, Glenn Branca, Rhys Chatham, Mars, James Chance and the Contortions, DNA, Bush Tetras, Theoretical Girls, Swans, and Sonic Youth. The No Wave movement focused more on performance art than actual coherent musical structure. The Brian Eno-produced No New York compilation is considered the quintessential testament to the history of No Wave[2].
The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, just as post-punk bands had originally left punk rock behind in favor of new sounds. Many post-punk bands, most notably The Cure and Siouxsie & the Banshees, evolved into gothic rock (formerly a style of the larger post-punk movement) and became identified with the goth subculture. Some shifted to a more commercial New Wave sound, while others were fixtures on American college radio and became early examples of alternative rock.
Post-punk revival
The turn of the 21st century saw a post-punk revival in British and American indie rock, which soon started appearing in many different countries as well. The earliest sign of a post-punk revival was the emergence of various underground bands in the mid-90s. However, the first commercially successful bands,The Strokes, Interpol, The Rapture, The Rakes, The Libertines,[3] Franz Ferdinand, The Killers, and Editors surfaced in the late '90s to early '00s. These bands made music with recognizable post-punk influences, even accompanied by arty, almost Mod fashions copied from original post-punk and new romantic bands. Modern post-punk is far more commercially successful than in the 1970s and 1980s. The post-punk revival has retained a strong following even after similar '80s revival genres such as electroclash have fallen out of style. This genre has become even more popular come 21st century, way past the borders of its origin, reaching the different continents. One example is that of Philippine's The Low Techs.
Origin of the term
The term "post-punk" was used as early as 1980. Critic Greil Marcus referred to "Britain's postpunk pop avant-garde" in a July 24, 1980 Rolling Stone article. He applied the phrase to such bands as Gang of Four, The Raincoats and Essential Logic, which he wrote were "sparked by a tension, humour, and sense of paradox plainly unique in present-day pop music."[4]
Music clips
A few illustrative short clips of post-punk music:
Note: files size vary from 185 kB to 305 kB, and all are 20 seconds long.
See also
Notes
- ^ Erlewine, Stephen Thomas. "Post-Punk" Allmusic. Retrieved November 2 2006.
- ^ Marc Masters, No Wave, Black Dog Publishing Limited, 2008, ISBN 190615502X, p.9.
- ^ Post-punk revival - FoxyTunes
- ^ Greil Marcus, Ranters and Crowd Pleasers, p. 109.
External links
- "Post-Punk", Allmusic
- Hour-long public radio interview with Simon Reynolds, author of Rip It Up and Start Again: Post-Punk 1978-1984 on The Sound of Young America
- Simon Reynolds' Rip It Up and Start Again: Post-Punk 1978-1984, Fast 'n' Bulbous review
- "www.post-punk.com", post-punk.com, an online database and community related to the history of the genre.
