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| | Minding Their Own Business: Erase Errata, The Rapture, and the Return of Post-Punk |
 | | While many a well-versed record nerd can reduce the post-punk movement to a concrete list of essential bands, record labels, and compilations, the genre's best critics emphasize that post-punk has always been, more than anything else, defined by a particular musical approach, a determination to challenge rock conventions and create something new and interesting. |
 | | Punk groups like the Clash and the Sex Pistols had lost their edge and developed a new set of conventions as confining as those that they once venomously opposed, and traditional 12-bar rock 'n' roll had long since stopped offering opportunities for musical innovation. |
 | | It spread to bands like Josef K in Scotland, Kleenex/Liliput in Switzerland, Malaria in Germany, Friction in Japan; also to the American label 99 Records-which released ESG, Bush Tetras, and Liquid Liquid-and the American bands that came to be classified as No Wave: DNA, Mars, and James Chance and the Contortions. |
| www.freewilliamsburg.com /june_2002/post-punk.html (2178 words) |
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