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Post-punk

Post-punk (originally called new musick)[1] is a broad genre of rock music that emerged in the late 1970s in the wake of punk rock. Post-punk musicians departed from punk's traditional elements and raw simplicity, instead adopting a broader, more experimental approach that encompassed a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with styles like funk, electronic music, jazz, and dance music; the production techniques of dub and disco; and ideas from art and politics, including critical theory, modernist art, cinema and literature.[2][3] These communities produced independent record labels, visual art, multimedia performances and fanzines.

Post-punk
EtymologyRefers to certain developments after punk, although some groups predate the movement
Other namesNew musick
Stylistic origins
Cultural originsLate 1970s; United Kingdom
Derivative forms
Subgenres
Fusion genres
Regional scenes
Local scenes
Leeds
Other topics

The early post-punk vanguard was represented by groups including Siouxsie and the Banshees, Wire, Public Image Ltd, the Pop Group, Cabaret Voltaire, Magazine, Pere Ubu, Joy Division, Talking Heads, Devo, Gang of Four, the Slits, the Cure, and the Fall.[4] The movement was closely related to the development of ancillary genres such as gothic rock, neo-psychedelia, no wave, and industrial music. By the mid-1980s, post-punk had dissipated, but it provided a foundation for the New Pop movement and the later alternative and independent genres.

Definition

Post-punk is a diverse genre[5] that emerged from the cultural milieu of punk rock in the late 1970s.[6][7][8][9][nb 1] Originally called "new musick", the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's garage rock template and into disparate areas.[1] Sounds writer Jon Savage already used "post-punk" in early 1978.[11] NME writer Paul Morley also stated that he had "possibly" invented the term himself.[12] At the time, there was a feeling of renewed excitement regarding what the word would entail, with Sounds publishing numerous preemptive editorials on new musick.[13][nb 2] Towards the end of the decade, some journalists used "art punk" as a pejorative for garage rock-derived acts deemed too sophisticated and out of step with punk's dogma.[14][nb 3] Before the early 1980s, many groups now categorized as "post-punk" were subsumed under the broad umbrella of "new wave", with the terms being deployed interchangeably. "Post-punk" became differentiated from "new wave" after their styles perceptibly narrowed.[16]

The writer Nicholas Lezard described the term "post-punk" as "so multifarious that only the broadest use ... is possible".[5] Subsequent discourse has failed to clarify whether contemporary music journals and fanzines conventionally understood "post-punk" the way that it was discussed in later years.[17] Music historian Clinton Heylin places the "true starting-point for English post-punk" somewhere between August 1977 and May 1978, with the arrival of guitarist John McKay in Siouxsie and the Banshees in July 1977, Magazine's first album, Wire's new musical direction in 1978 and the formation of Public Image Ltd.[18] Music historian Simon Goddard wrote that the debut albums of those bands layered the foundations of post-punk.[19]

Simon Reynolds' 2005 book Rip It Up and Start Again is widely referenced as post-punk doctrine, although he has stated that the book only covers aspects of post-punk that he had a personal inclination toward.[6] Wilkinson characterized Reynolds' readings as "apparent revisionism and 'rebranding'".[17] Author/musician Alex Ogg criticized: "The problem is not with what Reynolds left out of Rip It Up ..., but, paradoxically, that too much was left in".[6][nb 4] Ogg suggested that post-punk pertains to a set of artistic sensibilities and approaches rather than any unifying style, and disputed the accuracy of the term's chronological prefix "post", as various groups commonly labeled "post-punk" predate the punk rock movement.[6] Reynolds defined the post-punk era as occurring roughly between 1978 and 1984.[21] He advocated that post-punk be conceived as "less a genre of music than a space of possibility",[6] suggesting that "what unites all this activity is a set of open-ended imperatives: innovation; willful oddness; the willful jettisoning of all things precedented or 'rock'n'roll'".[21] AllMusic employs "post-punk" to denote "a more adventurous and arty form of punk".[7]

Reynolds asserted that the post-punk period produced significant innovations and music on its own.[22] Reynolds described the period as "a fair match for the sixties in terms of the sheer amount of great music created, the spirit of adventure and idealism that infused it, and the way that the music seemed inextricably connected to the political and social turbulence of its era".[23] Nicholas Lezard wrote that the music of the period "was avant-garde, open to any musical possibilities that suggested themselves, united only in the sense that it was very often cerebral, concocted by brainy young men and women interested as much in disturbing the audience, or making them think, as in making a pop song".[5]

Characteristics

Many post-punk artists were initially inspired by punk's DIY ethic and energy,[7] but ultimately became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, and self-parody.[24] They repudiated its populist claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences.[25][page needed][7] Artists moved beyond punk's focus on the concerns of a largely white, male, working-class population[26] and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs.[27][page needed] These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form".[28]

Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions[22][5] and rejection of aesthetics perceived of as traditionalist,[6] hegemonic[22] or rockist[29] in favor of experimentation with production techniques and non-rock musical styles such as dub,[30][page needed] funk,[31] electronic music,[30][page needed] disco,[30][page needed] noise, world music,[7] and the avant-garde.[7][26][32] Some previous musical styles also served as touchstones for the movement, including particular brands of krautrock,[33] glam, art rock,[34] art pop[35] and other music from the 1960s.[36][nb 5] Artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories.[38] Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic".[39][nb 6] According to musicologist Pete Dale, while groups wanted to "rip up history and start again", the music was still "inevitably tied to traces they could never fully escape".[42][nb 7]

Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts.[22][43][page needed] Artists sought to refuse the common distinction between high and low culture[44] and returned to the art school tradition found in the work of artists such as Roxy Music and David Bowie.[45][26][35] Reynolds noted a preoccupation among some post-punk artists with issues such as alienation, repression, and technocracy of Western modernity.[46] Among major influences on a variety of post-punk artists were writers William S. Burroughs and J. G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism.[3] Many artists viewed their work in explicitly political terms.[47] Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music.[48][page needed] Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music.[5] Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement.[49]

1977–1979: Early years

Background

 
Siouxsie and the Banshees with the Cure. The two groups frequently collaborated.

During the punk era, a variety of entrepreneurs interested in local punk-influenced music scenes began founding independent record labels, including Rough Trade (founded by record shop owner Geoff Travis), Factory (founded by Manchester-based television personality Tony Wilson),[50] and Fast Product (co-founded by Bob Last and Hilary Morrison).[51][52] By 1977, groups began pointedly pursuing methods of releasing music independently, an idea disseminated in particular by Buzzcocks' release of their Spiral Scratch EP on their own label as well as the self-released 1977 singles of Desperate Bicycles.[53] These DIY imperatives would help form the production and distribution infrastructure of post-punk and the indie music scene that later blossomed in the mid-1980s.[54]

As the initial punk movement dwindled, vibrant new scenes began to coalesce out of a variety of bands pursuing experimental sounds and wider conceptual territory in their work.[55] By late 1977, British acts like Siouxsie and the Banshees and Wire were experimenting with sounds, lyrics, and aesthetics that differed significantly from their punk contemporaries. Savage described some of these early developments as exploring "harsh urban scrapings", "controlled white noise" and "massively accented drumming".[56] Mojo editor Pat Gilbert said, "The first truly post-punk band were Siouxsie and the Banshees", noting the influence of the band's use of repetition on Joy Division.[57] John Robb similarly argued that the very first Banshees gig was "proto post-punk" due to the hypnotic rhythm section.[58] In January 1978, singer John Lydon (then known as Johnny Rotten) announced the break-up of his pioneering punk band the Sex Pistols, citing his disillusionment with punk's musical predictability and cooption by commercial interests, as well as his desire to explore more diverse territory.[59] In May, Lydon formed the group Public Image Ltd[60] with guitarist Keith Levene and bassist Jah Wobble, the latter who declared "rock is obsolete" after citing reggae as a "natural influence".[61] However, Lydon described his new sound as "total pop with deep meanings. But I don't want to be categorised in any other term but punk! That's where I come from and that's where I'm staying."[62]

United Kingdom

Around this time, acts such as Public Image Ltd, The Pop Group and The Slits had begun experimenting with dance music, dub production techniques and the avant-garde,[63] while punk-indebted Manchester acts such as Joy Division, The Fall, The Durutti Column and A Certain Ratio developed unique styles that drew on a similarly disparate range of influences across music and modernist art.[64] Bands such as Scritti Politti, Gang of Four, Essential Logic and This Heat incorporated leftist political philosophy and their own art school studies in their work.[65] The unorthodox studio production techniques devised by producers such as Steve Lillywhite,[66] Martin Hannett, and Dennis Bovell became important element of the emerging music. Labels such as Rough Trade and Factory would become important hubs for these groups and help facilitate releases, artwork, performances, and promotion.[67][page needed]

Credit for the first post-punk record is disputed, but strong contenders include the debuts of Magazine ("Shot by Both Sides", January 1978), Siouxsie and the Banshees ("Hong Kong Garden", August 1978), Public Image Ltd ("Public Image", October 1978), Cabaret Voltaire (Extended Play, November 1978) and Gang of Four ("Damaged Goods", December 1978).[68][nb 8]

A variety of groups that predated punk, such as Cabaret Voltaire and Throbbing Gristle, experimented with tape machines and electronic instruments in tandem with performance art methods and influence from transgressive literature, ultimately helping to pioneer industrial music.[69] Throbbing Gristle's independent label Industrial Records would become a hub for this scene and provide it with its namesake. A pioneering punk scene in Australia during the mid-1970s also fostered influential post-punk acts like The Birthday Party, who eventually relocated to the UK to join its burgeoning music scene.[70]

As these scenes began to develop, British music publications such as NME and Sounds developed an influential part in the nascent post-punk culture, with writers like Savage, Paul Morley and Ian Penman developing a dense (and often playful) style of criticism that drew on philosophy, radical politics and an eclectic variety of other sources. In 1978, UK magazine Sounds celebrated albums such as Siouxsie and the Banshees' The Scream, Wire's Chairs Missing, and American band Pere Ubu's Dub Housing.[71] In 1979, NME championed records such as PiL's Metal Box, Joy Division's Unknown Pleasures, Gang of Four's Entertainment!, Wire's 154, the Raincoats' self-titled debut, and American group Talking Heads' album Fear of Music.[72]

Siouxsie and the Banshees, Joy Division, Bauhaus and The Cure were the main post-punk bands who shifted to dark overtones in their music, which would later spawn the gothic rock scene in the early 1980s.[73][74] Members of Siouxsie and the Banshees and the Cure worked on records and toured together regularly until 1984. Neo-psychedelia grew out of the British post-punk scene in the late 1970s.[75] The genre later flourished into a more widespread and international movement of artists who applied the spirit of psychedelic rock to new sounds and techniques.[76] Other styles such as avant-funk and industrial dub also emerged around 1979.[2][46]

United States

 
Devo performing in 1978.
 
Talking Heads were one of the only American post-punk bands to reach both a large cult audience and the mainstream.[77]

In the mid-1970s, various American groups (some with ties to Downtown Manhattan's punk scene, including Television and Suicide) had begun expanding on the vocabulary of punk music.[78] Midwestern groups such as Pere Ubu and Devo drew inspiration from the region's derelict industrial environments, employing conceptual art techniques, musique concrète and unconventional verbal styles that would presage the post-punk movement by several years.[79] A variety of subsequent groups, including the Boston-based Mission of Burma and the New York-based Talking Heads, combined elements of punk with art school sensibilities.[80] In 1978, the latter band began a series of collaborations with British ambient pioneer and ex-Roxy Music member Brian Eno, experimenting with Dadaist lyrical techniques, electronic sounds, and African polyrhythms.[80] San Francisco's vibrant post-punk scene was centered on such groups as Chrome, the Residents, Tuxedomoon and MX-80, whose influences extended to multimedia experimentation, cabaret and the dramatic theory of Antonin Artaud's Theater of Cruelty.[81]

Also emerging during this period was downtown New York's no wave movement, a short-lived art, and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes and often reflected an abrasive, confrontational and nihilistic worldview.[82][83] No wave musicians such as The Contortions, Teenage Jesus and the Jerks, Mars, DNA, Theoretical Girls, and Rhys Chatham instead experimented with noise, dissonance and atonality in addition to non-rock styles.[84] The former four groups were included on the Eno-produced No New York compilation (1978), often considered the quintessential testament to the scene.[85] The decadent parties and art installations of venues such as Club 57 and the Mudd Club would become cultural hubs for musicians and visual artists alike, with figures such as Jean-Michel Basquiat, Keith Haring and Michael Holman frequenting the scene.[86] According to Village Voice writer Steve Anderson, the scene pursued an abrasive reductionism that "undermined the power and mystique of a rock vanguard by depriving it of a tradition to react against".[87] Anderson claimed that the no wave scene represented "New York's last stylistically cohesive avant-rock movement".[87]

1980–1984: Further developments

UK scene and commercial ambitions

British post-punk entered the 1980s with support from members of the critical community—American critic Greil Marcus characterised "Britain's postpunk pop avant-garde" in a 1980 Rolling Stone article as "sparked by a tension, humour and sense of paradox plainly unique in present-day pop music"[88]—as well as media figures such as BBC DJ John Peel, while several groups, such as PiL and Joy Division, achieved some success in the popular charts.[89] The network of supportive record labels that included Y Records, Industrial, Fast, E.G., Mute, Axis/4AD, and Glass continued to facilitate a large output of music. By 1980–1981, many British acts, including Maximum Joy, Magazine, Essential Logic, Killing Joke, The Sound, 23 Skidoo, Alternative TV, the Teardrop Explodes, The Psychedelic Furs, Echo & the Bunnymen and The Membranes also became part of these fledgling post-punk scenes, which centered on cities such as London and Manchester.[27][page needed]

However, during this period, major figures and artists in the scene began leaning away from underground aesthetics. In the music press, the increasingly esoteric writing of post-punk publications soon began to alienate their readerships; it is estimated that within several years, NME suffered the loss of half its circulation. Writers like Morley began advocating "overground brightness" instead of the experimental sensibilities promoted in the early years.[90] Morley's own musical collaboration with engineer Gary Langan and programmer J. J. Jeczalik, the Art of Noise, would attempt to bring sampled and electronic sounds to the pop mainstream.[91] Post-punk artists such as Scritti Politti's Green Gartside and Josef K's Paul Haig, previously engaged in avant-garde practices, turned away from these approaches and pursued mainstream styles and commercial success.[92] These new developments, in which post-punk artists attempted to bring subversive ideas into the pop mainstream, began to be categorized under the marketing term New Pop.[22]

 
 
New Romantic acts like Bow Wow Wow (left) dealt heavily in outlandish fashion, while synthpop artists such as Gary Numan (right) made use of electronics and visual stylization.

Several more pop-oriented groups, including ABC, the Associates, Adam and the Ants and Bow Wow Wow (the latter two managed by former Sex Pistols manager Malcolm McLaren) emerged in tandem with the development of the New Romantic subcultural scene.[93] Emphasizing glamour, fashion and escapism in distinction to the experimental seriousness of earlier post-punk groups, the club-oriented scene drew some suspicion from denizens of the movement but also achieved commercial success. Artists such as Gary Numan, Depeche Mode, the Human League, Soft Cell, John Foxx and Visage helped pioneer a new synthpop style that drew more heavily from electronic and synthesizer music and benefited from the rise of MTV.[94]

Downtown Manhattan

 
Glenn Branca performing in New York in the 1980s.

In the early 1980s, Downtown Manhattan's no wave scene transitioned from its abrasive origins into a more dance-oriented sound, with compilations such as ZE Records' Mutant Disco (1981) highlighting a newly playful sensibility borne out of the city's clash of hip hop, disco and punk styles, as well as dub reggae and world music influences.[95] Artists such as ESG, Liquid Liquid, The B-52s, Cristina, Arthur Russell, James White and the Blacks, and Lizzy Mercier Descloux pursued a formula described by Lucy Sante as "anything at all + disco bottom".[96] Other no wave-indebted artists such as Swans, Glenn Branca, Lydia Lunch, the Lounge Lizards, Bush Tetras, and Sonic Youth instead continued exploring the early scene's forays into noise and more abrasive territory.[97]

Mid-1980s: Decline

The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, often in favor of more commercial sounds (such as new wave). Many of these groups would continue recording as part of the new pop movement, with entryism becoming a popular concept.[27][page needed] In the United States, driven by MTV and modern rock radio stations, a number of post-punk acts had an influence on or became part of the Second British Invasion of "New Music" there.[98][27][page needed] Some shifted to a more commercial new wave sound (such as Gang of Four),[99][100] while others were fixtures on American college radio and became early examples of alternative rock, such as Athens, Georgia band R.E.M. One band to emerge from post-punk was U2,[101] which infused elements of religious imagery and political commentary into its often anthemic music.

Online database AllMusic stated scattered [late-80s] bands like Big Flame, World Domination Enterprises, and Minimal Compact, all seem like natural extensions of post-punk.[102]

Post-1980s

1990s

Some notable bands that recalled the original era during the 1990's included Six Finger Satellite, Brainiac, and Elastica.[102]

2000s: Revival

In the early 2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock emerged into the mainstream, these bands included Interpol, Franz Ferdinand, The Strokes, and The Rapture.[102] They were variously characterized as part of a post-punk revival, alongside a garage rock revival and a new wave revival.[103][104][105][106] The music ranged from the atonal tracks of bands like Liars to the melodic pop songs of groups like The Sounds,[103] popularising distorted guitar sounds.[107] They shared an emphasis on energetic live performance and used aesthetics (in hair and clothes) closely aligned with their fans,[108] often drawing on fashion of the 1950s and 1960s,[109] with "skinny ties, white belts [and] shag haircuts".[110] There was an emphasis on "rock authenticity" that was seen as a reaction to the commercialism of MTV-oriented nu metal, hip hop[108] and "bland" post-Britpop groups.[111] Because the bands came from countries around the world, cited diverse influences and adopted differing styles of dress, their unity as a genre has been disputed. By the end of the decade, many of the bands of the movement had broken up, were on hiatus, or had moved into other musical areas, and very few were making significant impact on the charts.[107][112][113]

2020s: "Crank wave" revival in the UK and Ireland

During the late 2010s and early 2020s, a new wave of UK and Irish post-punk bands gained popularity. Terms such as "crank wave" and "post-Brexit new wave" have been used to describe these bands.[114][115][116] The bands Black Country, New Road, Squid, Dry Cleaning, Shame, Sleaford Mods and Yard Act all had albums that charted in the top ten in the UK, while Idles' Ultra Mono,[117] Fontaines D.C.'s Skinty Fia[118] and Wet Leg's self-titled debut all reached number one on the UK album charts.[119] This scene is rooted in experimental post-punk and often features vocalists who "tend to talk more than they sing, reciting lyrics in an alternately disaffected or tightly wound voice", and "sometimes it's more like post-rock".[120] Several of these bands, including Black Country, New Road, Black Midi and Squid, began their careers by playing at The Windmill, an all-ages music venue in London's Brixton neighbourhood. Many of them have also worked with producer Dan Carey and have released music on his DIY label Speedy Wunderground.[121]

List of bands

Notes

  1. ^ Punk rock, whose criteria and categorization fluctuated throughout the early 1970s, was a crystallized genre by 1976 or 1977.[10]
  2. ^ According to critic Simon Reynolds, Savage introduced "new musick", which may refer to the more science-fiction and industrial sides of post-punk.[9]
  3. ^ In rock music of the era, "art" carried connotations that meant "aggressively avant-garde" or "pretentiously progressive".[15] Additionally, there were concerns over the authenticity of such bands.[14]
  4. ^ Ogg expressed concern regarding the attribution of "post-punk" to groups who came before the Sex Pistols,[6] themselves credited as the principal catalysts of punk.[20] He also noted several underheralded post-punk influences, including Discharge, XTC, UB40, the cow-punk scene, tape trading circles and the "unfashionable" portions of goth.[6]
  5. ^ Biographer Julián Palacios specifically pointed to the era's "dark undercurrent", citing examples such as Pink Floyd's Syd Barrett, The Velvet Underground, Nico, The Doors, The Monks, The Godz, The 13th Floor Elevators and Love.[36] Music critic Carl Wilson added The Beach Boys' leader Brian Wilson (no relation), writing that elements of his music and legends "became a touchstone ... for the artier branches of post-punk".[37]
  6. ^ Guardian Music journalist Sean O'Hagan described post-punk as a "rebuttal" to the optimism of the 1960s personified by the Beatles,[40] while author Doyle Green viewed it as an emergence of a kind of "progressive punk" music.[41]
  7. ^ An example he gave was Orange Juice's "Rip It Up" (1983), "a fairly basic pastiche of light-funk and r'n'b crooning; with a slightly different production style, it could certainly have fitted comfortably into the charts a decade before it was actually written and recorded".[42]
  8. ^ Gang of Four producer Bob Last said that "Damaged Goods" was post-punk's turning point, saying, "Not to take anything way from PiL – that was a very powerful gesture for John Lydon to go in that direction – but the die had already been cast. The postmodern idea of toying with convention in rock music: we claim that."[68]

Citations

  1. ^ a b Cateforis 2011, pp. 26–27.
  2. ^ a b Reynolds, Simon. "It Came From London: A Virtual Tour of Post-Punk's Roots". Time Out London. Retrieved 29 March 2017.
  3. ^ a b Reynolds 2005, p. xxxi.
  4. ^ For verification of these groups as part of the original post-punk vanguard see Heylin 2008, Siouxsie & the Banshees, Magazine and PiL, Wire; Reynolds 2013, p. 210, "... the 'post-punk vanguard'—overtly political groups like Gang of Four, Au Pairs, Pop Group ..."; Kootnikoff 2010, p. 30, "[Post-punk] bands like Joy Division, Gang of Four, and the Fall were hugely influential"; Cavanagh 2015, pp. 192–193, Gang of Four, Cabaret Voltaire, The Cure, PiL, Throbbing Gristle, Joy Division; Bogdanov, Woodstra & Erlewine 2002, p. 1337, Pere Ubu, Talking Heads; Cateforis 2011, p. 26, Devo, Throbbing Gristle, Siouxsie and the Banshees, the Slits, Wire
  5. ^ a b c d e Lezard, Nicholas (22 April 2005). "Fans for the memory". The Guardian (Book review: Simon Reynolds, Rip it Up and Start Again: Post-Pink 1978–1984). Retrieved 21 March 2016.
  6. ^ a b c d e f g h Ogg, Alex. "Beyond Rip It Up: Towards A New Definition of Post Punk?". The Quietus. Retrieved 20 February 2016.
  7. ^ a b c d e f "Post-Punk". AllMusic. Retrieved 5 December 2014.
  8. ^ Cieślak & Rasmus 2012, p. [page needed].
  9. ^ a b Reynolds 2005, p. [page needed].
  10. ^ Taylor 2003, pp. 14, 16.
  11. ^ Savage, Jon (18 February 1978). "Power Pop part 2: The C&A Generation in the Land of the Bland". Sounds. Rock's Backpages. Retrieved 1 December 2017.(subscription required)
  12. ^ "Big Gold Dream - Music Outside of London". Vimeo. Retrieved 3 June 2018.
  13. ^ Wilkinson 2016, p. 1.
  14. ^ a b Gittins 2004, p. 5.
  15. ^ Murray, Noel (28 May 2015). "60 minutes of music that sum up art-punk pioneers Wire". The A.V. Club.
  16. ^ Jackson, Josh (8 September 2016). "The 50 Best New Wave Albums". Paste.
  17. ^ a b Wilkinson 2016, p. 8.
  18. ^ Heylin 2008, p. 460.
  19. ^ Goddard 2010, p. 393: "Produced by Steve Lillywhite, [The Scream] arrived between Magazine's Real Life and Public Image Ltd's Public Image as the second in that year's triptych of albums layering the foundations of post-punk."
  20. ^ Armstrong, Billie Joe (15 April 2004). . Rolling Stone. Archived from the original on 19 June 2008. Retrieved 17 March 2009.
  21. ^ a b Reynolds 2009, p. [page needed].
  22. ^ a b c d e Kitty Empire (17 April 2005). "Never mind the Sex Pistols". The Guardian (Book review: Simon Reynolds, Rip It Up And Start Again: Post-Punk 1978–1984). Retrieved 17 February 2016.
  23. ^ Reynolds 1996, p. xi.
  24. ^ Reynolds 2005, p. 1.
  25. ^ Reynolds 2005, On one side were the populist 'real punks' ... who believed that the music needed to stay accessible and unpretentious, to continue to fill its role as the angry voice of the streets.On the other side was the vanguard that came to be known as postpunk, who saw 1977 not as a return to raw rock 'n' roll but as a chance to make a break with tradition..
  26. ^ a b c Rojek 2013, p. 28.
  27. ^ a b c d Reynolds 2005.
  28. ^ Reynolds 2005, pp. 1, 3.
  29. ^ Stanley, Bob (14 July 2014). Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé. W. W. Norton & Co.
  30. ^ a b c Cieślak & Rasmus 2012.
  31. ^ Reynolds 2005, p. 3, 261.
  32. ^ Reynolds 2005, p. [page needed], "They dedicated themselves to fulfilling punk's uncompleted musical revolution, exploring new possibilities by embracing electronics, noise, jazz, and the classical avant-garde.".
  33. ^ Reynolds, Simon (July 1996a). "Krautrock". Melody Maker.
  34. ^ Reynolds 2005, p. xi-xii.
  35. ^ a b Fisher, Mark. "You Remind Me of Gold: Dialogue with Simon Reynolds". Kaleidoscope. Issue 9, 2010.
  36. ^ a b Palacios 2010, p. 418.
  37. ^ Wilson, Carl (9 June 2015). "The Beach Boys' Brian Wilson: America's Mozart?". BBC.
  38. ^ Reynolds 2005, p. 7.
  39. ^ Bannister 2007, pp. 36–37.
  40. ^ O'Hagan, Sean; Vulliamy, Ed; Ellen, Barbara (31 January 2016). "Was 1966 pop music's greatest year?". The Guardian.
  41. ^ Greene 2014, p. 173.
  42. ^ a b Dale 2016, p. 153.
  43. ^ Reynolds 2005, "Those postpunk years from 1978 to 1984 saw the systematic ransacking of twentieth century modernist art and literature ...".
  44. ^ Anindya Bhattacharyya. "Simon Reynolds interview: Pop, politics, hip-hop and postpunk". Socialist Worker. Issue 2053, May 2007.
  45. ^ Reynolds 2005, p. 3≠.
  46. ^ a b Reynolds, Simon (13 February 1987). "End of the Track". New Statesman. Retrieved 5 March 2017.
  47. ^ Reynolds 2005, p. xi.
  48. ^ Reynolds 2005, "Beyond the musicians, there was a whole cadre of catalysts and culture warriors, enablers and ideologues who started labels, managed bands, became innovative producers, published fanzines, ran hipster record stores, promoted gigs and organized festivals.".
  49. ^ Reynolds 2005, p. 19.
  50. ^ Reynolds 2005, pp. 27, 30.
  51. ^ Simpson, Dave (9 February 2016). "Cult heroes: Bob Last – subversive Scottish post-punk label creator". The Guardian. Retrieved 3 June 2018.
  52. ^ Dingwall, John (12 June 2015). "How tiny Scots label Fast blazed a trail for celebrated Indies such as Postcard". Daily Record. Retrieved 3 June 2018.
  53. ^ Reynolds 2005, pp. 26, 31.
  54. ^ Reynolds 2005, pp. 27–28, 34.
  55. ^ Reynolds 2005, pp. 3.
  56. ^ Cateforis 2011, p. 26.
  57. ^ "Joy Division – Under Review TV documentary". Chrome Dreams. 2006. Archived from the original on 20 December 2021. Retrieved 1 September 2016.
  58. ^ Robb, John (10 January 2017). "Siouxsie and the Banshees first gig in 1976 playing Lords Prayer – was this where post punk starts?". Louder Than War. Retrieved 1 September 2017.
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Bibliography

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post, punk, originally, called, musick, broad, genre, rock, music, that, emerged, late, 1970s, wake, punk, rock, musicians, departed, from, punk, traditional, elements, simplicity, instead, adopting, broader, more, experimental, approach, that, encompassed, va. Post punk originally called new musick 1 is a broad genre of rock music that emerged in the late 1970s in the wake of punk rock Post punk musicians departed from punk s traditional elements and raw simplicity instead adopting a broader more experimental approach that encompassed a variety of avant garde sensibilities and non rock influences Inspired by punk s energy and DIY ethic but determined to break from rock cliches artists experimented with styles like funk electronic music jazz and dance music the production techniques of dub and disco and ideas from art and politics including critical theory modernist art cinema and literature 2 3 These communities produced independent record labels visual art multimedia performances and fanzines Post punkEtymologyRefers to certain developments after punk although some groups predate the movementOther namesNew musickStylistic originsPunk rock avant garde dub funk electronic krautrock disco art rock free jazz world glam rock art popCultural originsLate 1970s United KingdomDerivative formsAlternative dance alternative rock avant funk dance rock dark wave indie pop indie rock neo psychedelia New pop post rock twee pop shoegazing synthpop houseSubgenresDance punk gothic rock no waveFusion genresPost hardcore post punk revivalRegional scenesUnited Kingdom United States Netherlands Ultra Germany Neue Deutsche Welle France Cold Wave Local scenesLeedsOther topicsAvant punk electronics in rock music experimental rock funk rock industrial music list of post punk bands new wave no wave noise rock recording studio as an instrumentThe early post punk vanguard was represented by groups including Siouxsie and the Banshees Wire Public Image Ltd the Pop Group Cabaret Voltaire Magazine Pere Ubu Joy Division Talking Heads Devo Gang of Four the Slits the Cure and the Fall 4 The movement was closely related to the development of ancillary genres such as gothic rock neo psychedelia no wave and industrial music By the mid 1980s post punk had dissipated but it provided a foundation for the New Pop movement and the later alternative and independent genres Contents 1 Definition 1 1 Characteristics 2 1977 1979 Early years 2 1 Background 2 2 United Kingdom 2 3 United States 3 1980 1984 Further developments 3 1 UK scene and commercial ambitions 3 2 Downtown Manhattan 3 3 Mid 1980s Decline 4 Post 1980s 4 1 1990s 4 2 2000s Revival 4 3 2020s Crank wave revival in the UK and Ireland 5 List of bands 6 Notes 7 Citations 8 Bibliography 9 Further reading 10 External linksDefinition EditSee also Art punk and New wave music Post punk is a diverse genre 5 that emerged from the cultural milieu of punk rock in the late 1970s 6 7 8 9 nb 1 Originally called new musick the terms were first used by various writers in the late 1970s to describe groups moving beyond punk s garage rock template and into disparate areas 1 Sounds writer Jon Savage already used post punk in early 1978 11 NME writer Paul Morley also stated that he had possibly invented the term himself 12 At the time there was a feeling of renewed excitement regarding what the word would entail with Sounds publishing numerous preemptive editorials on new musick 13 nb 2 Towards the end of the decade some journalists used art punk as a pejorative for garage rock derived acts deemed too sophisticated and out of step with punk s dogma 14 nb 3 Before the early 1980s many groups now categorized as post punk were subsumed under the broad umbrella of new wave with the terms being deployed interchangeably Post punk became differentiated from new wave after their styles perceptibly narrowed 16 The writer Nicholas Lezard described the term post punk as so multifarious that only the broadest use is possible 5 Subsequent discourse has failed to clarify whether contemporary music journals and fanzines conventionally understood post punk the way that it was discussed in later years 17 Music historian Clinton Heylin places the true starting point for English post punk somewhere between August 1977 and May 1978 with the arrival of guitarist John McKay in Siouxsie and the Banshees in July 1977 Magazine s first album Wire s new musical direction in 1978 and the formation of Public Image Ltd 18 Music historian Simon Goddard wrote that the debut albums of those bands layered the foundations of post punk 19 Simon Reynolds 2005 book Rip It Up and Start Again is widely referenced as post punk doctrine although he has stated that the book only covers aspects of post punk that he had a personal inclination toward 6 Wilkinson characterized Reynolds readings as apparent revisionism and rebranding 17 Author musician Alex Ogg criticized The problem is not with what Reynolds left out of Rip It Up but paradoxically that too much was left in 6 nb 4 Ogg suggested that post punk pertains to a set of artistic sensibilities and approaches rather than any unifying style and disputed the accuracy of the term s chronological prefix post as various groups commonly labeled post punk predate the punk rock movement 6 Reynolds defined the post punk era as occurring roughly between 1978 and 1984 21 He advocated that post punk be conceived as less a genre of music than a space of possibility 6 suggesting that what unites all this activity is a set of open ended imperatives innovation willful oddness the willful jettisoning of all things precedented or rock n roll 21 AllMusic employs post punk to denote a more adventurous and arty form of punk 7 Reynolds asserted that the post punk period produced significant innovations and music on its own 22 Reynolds described the period as a fair match for the sixties in terms of the sheer amount of great music created the spirit of adventure and idealism that infused it and the way that the music seemed inextricably connected to the political and social turbulence of its era 23 Nicholas Lezard wrote that the music of the period was avant garde open to any musical possibilities that suggested themselves united only in the sense that it was very often cerebral concocted by brainy young men and women interested as much in disturbing the audience or making them think as in making a pop song 5 Characteristics Edit Many post punk artists were initially inspired by punk s DIY ethic and energy 7 but ultimately became disillusioned with the style and movement feeling that it had fallen into a commercial formula rock convention and self parody 24 They repudiated its populist claims to accessibility and raw simplicity instead of seeing an opportunity to break with musical tradition subvert commonplaces and challenge audiences 25 page needed 7 Artists moved beyond punk s focus on the concerns of a largely white male working class population 26 and abandoned its continued reliance on established rock and roll tropes such as three chord progressions and Chuck Berry based guitar riffs 27 page needed These artists instead defined punk as an imperative to constant change believing that radical content demands radical form 28 Though the music varied widely between regions and artists the post punk movement has been characterized by its conceptual assault on rock conventions 22 5 and rejection of aesthetics perceived of as traditionalist 6 hegemonic 22 or rockist 29 in favor of experimentation with production techniques and non rock musical styles such as dub 30 page needed funk 31 electronic music 30 page needed disco 30 page needed noise world music 7 and the avant garde 7 26 32 Some previous musical styles also served as touchstones for the movement including particular brands of krautrock 33 glam art rock 34 art pop 35 and other music from the 1960s 36 nb 5 Artists once again approached the studio as an instrument using new recording methods and pursuing novel sonic territories 38 Author Matthew Bannister wrote that post punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined rock as progressive as art as sterile studio perfectionism by adopting an avant garde aesthetic 39 nb 6 According to musicologist Pete Dale while groups wanted to rip up history and start again the music was still inevitably tied to traces they could never fully escape 42 nb 7 Nicholas Lezard described post punk as a fusion of art and music The era saw the robust appropriation of ideas from literature art cinema philosophy politics and critical theory into musical and pop cultural contexts 22 43 page needed Artists sought to refuse the common distinction between high and low culture 44 and returned to the art school tradition found in the work of artists such as Roxy Music and David Bowie 45 26 35 Reynolds noted a preoccupation among some post punk artists with issues such as alienation repression and technocracy of Western modernity 46 Among major influences on a variety of post punk artists were writers William S Burroughs and J G Ballard avant garde political scenes such as Situationism and Dada and intellectual movements such as postmodernism 3 Many artists viewed their work in explicitly political terms 47 Additionally in some locations the creation of post punk music was closely linked to the development of efficacious subcultures which played important roles in the production of art multimedia performances fanzines and independent labels related to the music 48 page needed Many post punk artists maintained an anti corporatist approach to recording and instead seized on alternate means of producing and releasing music 5 Journalists also became an important element of the culture and popular music magazines and critics became immersed in the movement 49 1977 1979 Early years EditBackground Edit Further information Punk rock 1979 1984 Schism and diversification Siouxsie and the Banshees with the Cure The two groups frequently collaborated During the punk era a variety of entrepreneurs interested in local punk influenced music scenes began founding independent record labels including Rough Trade founded by record shop owner Geoff Travis Factory founded by Manchester based television personality Tony Wilson 50 and Fast Product co founded by Bob Last and Hilary Morrison 51 52 By 1977 groups began pointedly pursuing methods of releasing music independently an idea disseminated in particular by Buzzcocks release of their Spiral Scratch EP on their own label as well as the self released 1977 singles of Desperate Bicycles 53 These DIY imperatives would help form the production and distribution infrastructure of post punk and the indie music scene that later blossomed in the mid 1980s 54 As the initial punk movement dwindled vibrant new scenes began to coalesce out of a variety of bands pursuing experimental sounds and wider conceptual territory in their work 55 By late 1977 British acts like Siouxsie and the Banshees and Wire were experimenting with sounds lyrics and aesthetics that differed significantly from their punk contemporaries Savage described some of these early developments as exploring harsh urban scrapings controlled white noise and massively accented drumming 56 Mojo editor Pat Gilbert said The first truly post punk band were Siouxsie and the Banshees noting the influence of the band s use of repetition on Joy Division 57 John Robb similarly argued that the very first Banshees gig was proto post punk due to the hypnotic rhythm section 58 In January 1978 singer John Lydon then known as Johnny Rotten announced the break up of his pioneering punk band the Sex Pistols citing his disillusionment with punk s musical predictability and cooption by commercial interests as well as his desire to explore more diverse territory 59 In May Lydon formed the group Public Image Ltd 60 with guitarist Keith Levene and bassist Jah Wobble the latter who declared rock is obsolete after citing reggae as a natural influence 61 However Lydon described his new sound as total pop with deep meanings But I don t want to be categorised in any other term but punk That s where I come from and that s where I m staying 62 United Kingdom Edit See also Gothic rock and Neo psychedelia Around this time acts such as Public Image Ltd The Pop Group and The Slits had begun experimenting with dance music dub production techniques and the avant garde 63 while punk indebted Manchester acts such as Joy Division The Fall The Durutti Column and A Certain Ratio developed unique styles that drew on a similarly disparate range of influences across music and modernist art 64 Bands such as Scritti Politti Gang of Four Essential Logic and This Heat incorporated leftist political philosophy and their own art school studies in their work 65 The unorthodox studio production techniques devised by producers such as Steve Lillywhite 66 Martin Hannett and Dennis Bovell became important element of the emerging music Labels such as Rough Trade and Factory would become important hubs for these groups and help facilitate releases artwork performances and promotion 67 page needed Credit for the first post punk record is disputed but strong contenders include the debuts of Magazine Shot by Both Sides January 1978 Siouxsie and the Banshees Hong Kong Garden August 1978 Public Image Ltd Public Image October 1978 Cabaret Voltaire Extended Play November 1978 and Gang of Four Damaged Goods December 1978 68 nb 8 A variety of groups that predated punk such as Cabaret Voltaire and Throbbing Gristle experimented with tape machines and electronic instruments in tandem with performance art methods and influence from transgressive literature ultimately helping to pioneer industrial music 69 Throbbing Gristle s independent label Industrial Records would become a hub for this scene and provide it with its namesake A pioneering punk scene in Australia during the mid 1970s also fostered influential post punk acts like The Birthday Party who eventually relocated to the UK to join its burgeoning music scene 70 As these scenes began to develop British music publications such as NME and Sounds developed an influential part in the nascent post punk culture with writers like Savage Paul Morley and Ian Penman developing a dense and often playful style of criticism that drew on philosophy radical politics and an eclectic variety of other sources In 1978 UK magazine Sounds celebrated albums such as Siouxsie and the Banshees The Scream Wire s Chairs Missing and American band Pere Ubu s Dub Housing 71 In 1979 NME championed records such as PiL s Metal Box Joy Division s Unknown Pleasures Gang of Four s Entertainment Wire s 154 the Raincoats self titled debut and American group Talking Heads album Fear of Music 72 Siouxsie and the Banshees Joy Division Bauhaus and The Cure were the main post punk bands who shifted to dark overtones in their music which would later spawn the gothic rock scene in the early 1980s 73 74 Members of Siouxsie and the Banshees and the Cure worked on records and toured together regularly until 1984 Neo psychedelia grew out of the British post punk scene in the late 1970s 75 The genre later flourished into a more widespread and international movement of artists who applied the spirit of psychedelic rock to new sounds and techniques 76 Other styles such as avant funk and industrial dub also emerged around 1979 2 46 United States Edit See also No wave Devo performing in 1978 Talking Heads were one of the only American post punk bands to reach both a large cult audience and the mainstream 77 In the mid 1970s various American groups some with ties to Downtown Manhattan s punk scene including Television and Suicide had begun expanding on the vocabulary of punk music 78 Midwestern groups such as Pere Ubu and Devo drew inspiration from the region s derelict industrial environments employing conceptual art techniques musique concrete and unconventional verbal styles that would presage the post punk movement by several years 79 A variety of subsequent groups including the Boston based Mission of Burma and the New York based Talking Heads combined elements of punk with art school sensibilities 80 In 1978 the latter band began a series of collaborations with British ambient pioneer and ex Roxy Music member Brian Eno experimenting with Dadaist lyrical techniques electronic sounds and African polyrhythms 80 San Francisco s vibrant post punk scene was centered on such groups as Chrome the Residents Tuxedomoon and MX 80 whose influences extended to multimedia experimentation cabaret and the dramatic theory of Antonin Artaud s Theater of Cruelty 81 Also emerging during this period was downtown New York s no wave movement a short lived art and music scene that began in part as a reaction against punk s recycling of traditionalist rock tropes and often reflected an abrasive confrontational and nihilistic worldview 82 83 No wave musicians such as The Contortions Teenage Jesus and the Jerks Mars DNA Theoretical Girls and Rhys Chatham instead experimented with noise dissonance and atonality in addition to non rock styles 84 The former four groups were included on the Eno produced No New York compilation 1978 often considered the quintessential testament to the scene 85 The decadent parties and art installations of venues such as Club 57 and the Mudd Club would become cultural hubs for musicians and visual artists alike with figures such as Jean Michel Basquiat Keith Haring and Michael Holman frequenting the scene 86 According to Village Voice writer Steve Anderson the scene pursued an abrasive reductionism that undermined the power and mystique of a rock vanguard by depriving it of a tradition to react against 87 Anderson claimed that the no wave scene represented New York s last stylistically cohesive avant rock movement 87 1980 1984 Further developments EditUK scene and commercial ambitions Edit See also New Pop British post punk entered the 1980s with support from members of the critical community American critic Greil Marcus characterised Britain s postpunk pop avant garde in a 1980 Rolling Stone article as sparked by a tension humour and sense of paradox plainly unique in present day pop music 88 as well as media figures such as BBC DJ John Peel while several groups such as PiL and Joy Division achieved some success in the popular charts 89 The network of supportive record labels that included Y Records Industrial Fast E G Mute Axis 4AD and Glass continued to facilitate a large output of music By 1980 1981 many British acts including Maximum Joy Magazine Essential Logic Killing Joke The Sound 23 Skidoo Alternative TV the Teardrop Explodes The Psychedelic Furs Echo amp the Bunnymen and The Membranes also became part of these fledgling post punk scenes which centered on cities such as London and Manchester 27 page needed However during this period major figures and artists in the scene began leaning away from underground aesthetics In the music press the increasingly esoteric writing of post punk publications soon began to alienate their readerships it is estimated that within several years NME suffered the loss of half its circulation Writers like Morley began advocating overground brightness instead of the experimental sensibilities promoted in the early years 90 Morley s own musical collaboration with engineer Gary Langan and programmer J J Jeczalik the Art of Noise would attempt to bring sampled and electronic sounds to the pop mainstream 91 Post punk artists such as Scritti Politti s Green Gartside and Josef K s Paul Haig previously engaged in avant garde practices turned away from these approaches and pursued mainstream styles and commercial success 92 These new developments in which post punk artists attempted to bring subversive ideas into the pop mainstream began to be categorized under the marketing term New Pop 22 New Romantic acts like Bow Wow Wow left dealt heavily in outlandish fashion while synthpop artists such as Gary Numan right made use of electronics and visual stylization Several more pop oriented groups including ABC the Associates Adam and the Ants and Bow Wow Wow the latter two managed by former Sex Pistols manager Malcolm McLaren emerged in tandem with the development of the New Romantic subcultural scene 93 Emphasizing glamour fashion and escapism in distinction to the experimental seriousness of earlier post punk groups the club oriented scene drew some suspicion from denizens of the movement but also achieved commercial success Artists such as Gary Numan Depeche Mode the Human League Soft Cell John Foxx and Visage helped pioneer a new synthpop style that drew more heavily from electronic and synthesizer music and benefited from the rise of MTV 94 Downtown Manhattan Edit Glenn Branca performing in New York in the 1980s In the early 1980s Downtown Manhattan s no wave scene transitioned from its abrasive origins into a more dance oriented sound with compilations such as ZE Records Mutant Disco 1981 highlighting a newly playful sensibility borne out of the city s clash of hip hop disco and punk styles as well as dub reggae and world music influences 95 Artists such as ESG Liquid Liquid The B 52s Cristina Arthur Russell James White and the Blacks and Lizzy Mercier Descloux pursued a formula described by Lucy Sante as anything at all disco bottom 96 Other no wave indebted artists such as Swans Glenn Branca Lydia Lunch the Lounge Lizards Bush Tetras and Sonic Youth instead continued exploring the early scene s forays into noise and more abrasive territory 97 Mid 1980s Decline Edit The original post punk movement ended as the bands associated with the movement turned away from its aesthetics often in favor of more commercial sounds such as new wave Many of these groups would continue recording as part of the new pop movement with entryism becoming a popular concept 27 page needed In the United States driven by MTV and modern rock radio stations a number of post punk acts had an influence on or became part of the Second British Invasion of New Music there 98 27 page needed Some shifted to a more commercial new wave sound such as Gang of Four 99 100 while others were fixtures on American college radio and became early examples of alternative rock such as Athens Georgia band R E M One band to emerge from post punk was U2 101 which infused elements of religious imagery and political commentary into its often anthemic music Online database AllMusic stated scattered late 80s bands like Big Flame World Domination Enterprises and Minimal Compact all seem like natural extensions of post punk 102 Post 1980s Edit1990s Edit Some notable bands that recalled the original era during the 1990 s included Six Finger Satellite Brainiac and Elastica 102 2000s Revival Edit Main article Post punk revival In the early 2000s a new group of bands that played a stripped down and back to basics version of guitar rock emerged into the mainstream these bands included Interpol Franz Ferdinand The Strokes and The Rapture 102 They were variously characterized as part of a post punk revival alongside a garage rock revival and a new wave revival 103 104 105 106 The music ranged from the atonal tracks of bands like Liars to the melodic pop songs of groups like The Sounds 103 popularising distorted guitar sounds 107 They shared an emphasis on energetic live performance and used aesthetics in hair and clothes closely aligned with their fans 108 often drawing on fashion of the 1950s and 1960s 109 with skinny ties white belts and shag haircuts 110 There was an emphasis on rock authenticity that was seen as a reaction to the commercialism of MTV oriented nu metal hip hop 108 and bland post Britpop groups 111 Because the bands came from countries around the world cited diverse influences and adopted differing styles of dress their unity as a genre has been disputed By the end of the decade many of the bands of the movement had broken up were on hiatus or had moved into other musical areas and very few were making significant impact on the charts 107 112 113 2020s Crank wave revival in the UK and Ireland Edit During the late 2010s and early 2020s a new wave of UK and Irish post punk bands gained popularity Terms such as crank wave and post Brexit new wave have been used to describe these bands 114 115 116 The bands Black Country New Road Squid Dry Cleaning Shame Sleaford Mods and Yard Act all had albums that charted in the top ten in the UK while Idles Ultra Mono 117 Fontaines D C s Skinty Fia 118 and Wet Leg s self titled debut all reached number one on the UK album charts 119 This scene is rooted in experimental post punk and often features vocalists who tend to talk more than they sing reciting lyrics in an alternately disaffected or tightly wound voice and sometimes it s more like post rock 120 Several of these bands including Black Country New Road Black Midi and Squid began their careers by playing at The Windmill an all ages music venue in London s Brixton neighbourhood Many of them have also worked with producer Dan Carey and have released music on his DIY label Speedy Wunderground 121 List of bands EditMain article List of post punk bandsNotes Edit Punk rock whose criteria and categorization fluctuated throughout the early 1970s was a crystallized genre by 1976 or 1977 10 According to critic Simon Reynolds Savage introduced new musick which may refer to the more science fiction and industrial sides of post punk 9 In rock music of the era art carried connotations that meant aggressively avant garde or pretentiously progressive 15 Additionally there were concerns over the authenticity of such bands 14 Ogg expressed concern regarding the attribution of post punk to groups who came before the Sex Pistols 6 themselves credited as the principal catalysts of punk 20 He also noted several underheralded post punk influences including Discharge XTC UB40 the cow punk scene tape trading circles and the unfashionable portions of goth 6 Biographer Julian Palacios specifically pointed to the era s dark undercurrent citing examples such as Pink Floyd s Syd Barrett The Velvet Underground Nico The Doors The Monks The Godz The 13th Floor Elevators and Love 36 Music critic Carl Wilson added The Beach Boys leader Brian Wilson no relation writing that elements of his music and legends became a touchstone for the artier branches of post punk 37 Guardian Music journalist Sean O Hagan described post punk as a rebuttal to the optimism of the 1960s personified by the Beatles 40 while author Doyle Green viewed it as an emergence of a kind of progressive punk music 41 An example he gave was Orange Juice s Rip It Up 1983 a fairly basic pastiche of light funk and r n b crooning with a slightly different production style it could certainly have fitted comfortably into the charts a decade before it was actually written and recorded 42 Gang of Four producer Bob Last said that Damaged Goods was post punk s turning point saying Not to take anything way from PiL that was a very powerful gesture for John Lydon to go in that direction but the die had already been cast The postmodern idea of toying with convention in rock music we claim that 68 Citations Edit a b Cateforis 2011 pp 26 27 a b Reynolds Simon It Came From London A Virtual Tour of Post Punk s Roots Time Out London Retrieved 29 March 2017 a b Reynolds 2005 p xxxi For verification of these groups as part of the original post punk vanguard see Heylin 2008 Siouxsie amp the Banshees Magazine and PiL Wire Reynolds 2013 p 210 the post punk vanguard overtly political groups like Gang of Four Au Pairs Pop Group Kootnikoff 2010 p 30 Post punk bands like Joy Division Gang of Four and the Fall were hugely influential Cavanagh 2015 pp 192 193 Gang of Four Cabaret Voltaire The Cure PiL Throbbing Gristle Joy Division Bogdanov Woodstra amp Erlewine 2002 p 1337 Pere Ubu Talking Heads Cateforis 2011 p 26 Devo Throbbing Gristle Siouxsie and the Banshees the Slits Wire a b c d e Lezard Nicholas 22 April 2005 Fans for the memory The Guardian Book review Simon Reynolds Rip it Up and Start Again Post Pink 1978 1984 Retrieved 21 March 2016 a b c d e f g h Ogg Alex Beyond Rip It Up Towards A New Definition of Post Punk The Quietus Retrieved 20 February 2016 a b c d e f Post Punk AllMusic Retrieved 5 December 2014 Cieslak amp Rasmus 2012 p page needed a b Reynolds 2005 p page needed Taylor 2003 pp 14 16 Savage Jon 18 February 1978 Power Pop part 2 The C amp A Generation in the Land of the Bland Sounds Rock s Backpages Retrieved 1 December 2017 subscription required Big Gold Dream Music Outside of London Vimeo Retrieved 3 June 2018 Wilkinson 2016 p 1 a b Gittins 2004 p 5 Murray Noel 28 May 2015 60 minutes of music that sum up art punk pioneers Wire The A V Club Jackson Josh 8 September 2016 The 50 Best New Wave Albums Paste a b Wilkinson 2016 p 8 Heylin 2008 p 460 Goddard 2010 p 393 Produced by Steve Lillywhite The Scream arrived between Magazine s Real Life and Public Image Ltd s Public Image as the second in that year s triptych of albums layering the foundations of post punk Armstrong Billie Joe 15 April 2004 The Sex Pistols Rolling Stone Archived from the original on 19 June 2008 Retrieved 17 March 2009 a b Reynolds 2009 p page needed a b c d e Kitty Empire 17 April 2005 Never mind the Sex Pistols The Guardian Book review Simon Reynolds Rip It Up And Start Again Post Punk 1978 1984 Retrieved 17 February 2016 Reynolds 1996 p xi Reynolds 2005 p 1 Reynolds 2005 On one side were the populist real punks who believed that the music needed to stay accessible and unpretentious to continue to fill its role as the angry voice of the streets On the other side was the vanguard that came to be known as postpunk who saw 1977 not as a return to raw rock n roll but as a chance to make a break with tradition a b c Rojek 2013 p 28 a b c d Reynolds 2005 Reynolds 2005 pp 1 3 Stanley Bob 14 July 2014 Yeah Yeah Yeah The Story of Pop Music from Bill Haley to Beyonce W W Norton amp Co a b c Cieslak amp Rasmus 2012 Reynolds 2005 p 3 261 Reynolds 2005 p page needed They dedicated themselves to fulfilling punk s uncompleted musical revolution exploring new possibilities by embracing electronics noise jazz and the classical avant garde Reynolds Simon July 1996a Krautrock Melody Maker Reynolds 2005 p xi xii a b Fisher Mark You Remind Me of Gold Dialogue with Simon Reynolds Kaleidoscope Issue 9 2010 a b Palacios 2010 p 418 Wilson Carl 9 June 2015 The Beach Boys Brian Wilson America s Mozart BBC Reynolds 2005 p 7 Bannister 2007 pp 36 37 O Hagan Sean Vulliamy Ed Ellen Barbara 31 January 2016 Was 1966 pop music s greatest year The Guardian Greene 2014 p 173 a b Dale 2016 p 153 Reynolds 2005 Those postpunk years from 1978 to 1984 saw the systematic ransacking of twentieth century modernist art and literature Anindya Bhattacharyya Simon Reynolds interview Pop politics hip hop and postpunk Socialist Worker Issue 2053 May 2007 Reynolds 2005 p 3 a b Reynolds Simon 13 February 1987 End of the Track New Statesman Retrieved 5 March 2017 Reynolds 2005 p xi Reynolds 2005 Beyond the musicians there was a whole cadre of catalysts and culture warriors enablers and ideologues who started labels managed bands became innovative producers published fanzines ran hipster record stores promoted gigs and organized festivals Reynolds 2005 p 19 Reynolds 2005 pp 27 30 Simpson Dave 9 February 2016 Cult heroes Bob Last subversive Scottish post punk label creator The Guardian Retrieved 3 June 2018 Dingwall John 12 June 2015 How tiny Scots label Fast blazed a trail for celebrated Indies such as Postcard Daily Record Retrieved 3 June 2018 Reynolds 2005 pp 26 31 Reynolds 2005 pp 27 28 34 Reynolds 2005 pp 3 Cateforis 2011 p 26 Joy Division Under Review TV documentary Chrome Dreams 2006 Archived from the original on 20 December 2021 Retrieved 1 September 2016 Robb John 10 January 2017 Siouxsie and the Banshees first gig in 1976 playing Lords Prayer was this where post punk starts Louder Than War Retrieved 1 September 2017 Reynolds 2005 pp 11 Classified Advertisements Work Musicians Wanted Melody Maker 30 6 May 1978 Drummer Wanted to play on off beat for modern band with fashionable outlook and rather well known singer Virgin Records 727 8070 Spencer Neil 27 May 1978 Introducing Johnny Rotten s Lonely Hearts Club Band NME We talk about the differences between the rock culture and the reggae culture which I suggest has a good deal more dignity than most rock bands or acts can muster Both Levene and Wobble agree Rock is obsolete says Wobble But it s our music our basic culture People thought we were gonna play reggae but we ain t gonna be no GT Moore and the Reggae Guitars or nothing It s just a natural influence like I play heavy on the bass Coon Caroline 22 July 1978 Public Image John Rotten and the Windsor Uplift Sounds Reynolds 2005 pp 41 54 Reynolds 2005 pp 103 109 Reynolds 2005 pp 54 180 182 Chester Tim 14 March 2010 50 of the Greatest Producers Ever NME Retrieved 1 June 2016 Young 2006 a b Lester 2009 pp 83 85 Reynolds 2005 pp 86 124 130 Reynolds 2005 pp 9 10 Sounds End of Year Lists Rock list music Retrieved 9 May 2016 1979 NME Albums Rock List Music Retrieved 9 May 2016 Reynolds 2005 p 427 Abebe Nitsuh 24 January 2007 Various Artists A Life Less Lived The Gothic Box Pitchfork Retrieved 10 March 2013 Neo Psychedelia AllMusic n d Terich Jeff 10 Essential Neo Psychedelia Albums Treblezine Bogdanov Woodstra amp Erlewine 2002 p 1337 Reynolds 2005 pp 140 142 43 Reynolds 2005 pp 70 a b Reynolds 2005 pp 158 Reynolds 2005 pp 197 204 NO The Origins of No Wave Pitchfork Retrieved 5 September 2020 No Wave Music Genre Overview AllMusic Retrieved 5 September 2020 Reynolds 2005 pp 140 Masters 2008 p 9 Reynolds 2005 pp 264 266 a b Foege 1994 pp 68 69 Marcus 1994 p 109 Joy Division Biography Billboard Retrieved 21 August 2017 Harvel Jess Now That s What I Call New Pop Pitchfork 12 September 2005 Reynolds 2005 pp 374 Reynolds 2005 pp 315 294 Reynolds 2005 pp 289 294 Reynolds 2005 pp 296 308 Reynolds 2005 pp 269 Reynolds 2005 pp 268 Reynolds 2005 pp 139 150 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1980s University of Michigan Press ISBN 978 0 472 03470 3 Cavanagh David 2015 Good Night and Good Riddance How Thirty Five Years of John Peel Helped to Shape Modern Life Faber amp Faber ISBN 978 0 571 30248 2 Cieslak Magdalena Rasmus Agnieszka 2012 Against and Beyond Subversion and Transgression in Mass Media Popular Culture and Performance Newcastle upon Tyne Cambridge Scholars Publishing ISBN 978 1 4438 3773 6 Dale Pete 2016 Anyone Can Do It Empowerment Tradition and the Punk Underground Routledge ISBN 978 1 317 18025 8 Gittins Ian 2004 Talking Heads Once in a Lifetime the Stories Behind Every Song Hal Leonard ISBN 978 0 634 08033 3 Greene Doyle 2014 The Rock Cover Song Culture History Politics McFarland amp Company ISBN 978 0 7864 7809 5 Foege Alec October 1994 Confusion Is Next The Sonic Youth Story Macmillan ISBN 978 0 3121 1369 8 Goddard Simon 2010 Mozipedia The Encyclopedia of Morrissey and the Smiths Sioux Siouxsie entry Ebury Press ISBN 978 0452296671 Heylin Clinton 2008 Babylon s Burning From Punk to Grunge Penguin Books ISBN 978 0 14 102431 8 Hoffman F W Ferstler H 2004 Encyclopedia of Recorded Sound Volume 1 2nd ed New York CRC Press ISBN 0 415 93835 X Kootnikoff David 2010 U2 A Musical Biography ABC CLIO ISBN 978 0 313 36523 2 Lester Paul 2009 Gang of Four Damaged Gods Omnibus Press ISBN 978 0 85712 020 5 Marcus Greil 1994 Ranters amp Crowd Pleasers Anchor Books ISBN 978 0 38541 721 1 Masters Marc 2008 No Wave New York City Black Dog Publishing ISBN 978 1 906155 02 5 Palacios Julian 2010 Syd Barrett amp Pink Floyd Dark Globe Plexus ISBN 978 0 85965 431 9 Reynolds Simon 1996 The Sex Revolts Gender Rebellion and Rock n Roll Harvard University Press ISBN 978 0674802735 Reynolds Simon 2005 Rip It Up and Start Again Postpunk 1978 1984 London Faber and Faber ISBN 978 0 14 303672 2 Reynolds Simon 2009 Totally Wired Postpunk Interviews and Overviews Faber and Faber ISBN 978 0571235490 Reynolds Simon 2013 Post Punk s Radical Dance Fictions In Cateforis Theo ed The Rock History Reader Routledge ISBN 978 0 415 89212 4 Rojek Chris 2013 Pop Music Pop Culture Polity Press ISBN 978 0 74564263 5 Taylor Steven 2003 False Prophet Field Notes from the Punk Underground Wesleyan University Press ISBN 978 0 8195 6668 3 Wilkinson David 2016 Post Punk Politics and Pleasure in Britain Springer ISBN 978 1 137 49780 2 Young Rob 2006 Rough Trade Black Dog Publishing ISBN 1 904772 47 1 Further reading EditByron Coley and Thurston Moore 2008 No Wave Post Punk Underground New York 1976 1980 Abrams McNeil Legs McCain Gillian 1997 Please Kill Me The Uncensored Oral History of Punk London Little Brown Book Group ISBN 978 0 349 10880 3 Reynolds Simon 2010 Totally Wired Postpunk Interviews and Overviews Soft Skull Press ISBN 978 1593763947 Walker Clinton 1982 Inner City Sound Punk and Post Punk in Australia 1976 1985 Sydney Wild amp Woolley ISBN 978 0 9093 3148 1 Walker Clinton 1996 Stranded The Secret History of Australian Independent Music 1977 1991 Sydney Pan Macmillan ISBN 0 7329 0883 3External links Edit Wikimedia Commons has media related to Post punk Post punk at AllMusic Post punk essay and sampler by Julian Cope Retrieved from https en wikipedia org w index php title Post punk amp oldid 1143085562, wikipedia, wiki, book, books, library,

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