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Topic: Postpunk


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  k-punk: The outside of everything, now
If romance featured in postpunk at all, it was as something to be derided and demystified (as in the Slits' 'Love Und Romance' or Gang of 4's 'Love Like Anthrax') or as something to be politically and theoretically interrogated a la Scritti or Devoto.
Postpunk was an awakening from Kapital's 'consensual hallucination', a means of channeling, externalizing and propagating disquiet and discrepancy.
And the continuing relevance of postpunk is to remind us that such reversals are possible, to provide the impetus for the development of a (punk) will to retake the present....
k-punk.abstractdynamics.org /archives/005449.html   (2292 words)

  
 Record Review (Detroit Metro Times)   (Site not responding. Last check: 2007-09-04)
"Postpunk" is a pretty wobbly term and the liner notes to this 3-CD compilation don’t quite nail it down.
More to the point, postpunk — sometimes referred to by that equally unhelpful term "new wave" — was a manifestation of what any musical form does when it reaches the end of its progressive thread, which is to revisit and rework its developmental highlights.
Postpunk was rock’s neo-romanticism, a return to traditional values after the dead end of pomp rock, art rock et al.
www.metrotimes.com /19/24/Reviews/musPostpunk.html   (277 words)

  
 The PostPunk Movement
Postpunk continued the rebellion in style and substance against mainstream rock conventions begun earlier by the 1970s punk movement.
In contrast, postpunk was defiantly inconsequential and advanced the romantic ideals of free expression and institutional autonomy.
In actuality, postpunk was not one particular musical style, but rather a main branch of the rock ancestral tree which was further split into many smaller branches.
www.shsu.edu /~lis_fwh/book/punk_newwave_postpunk/Postpunk-Intro.htm   (885 words)

  
 BOOKFORUM | Apr/May 2006
The razor-thin definition of punk, from 1976 to 1977, implicit in Reynolds's concept of postpunk is the British one, which hardly holds true for the rest of the world.
From the British perspective, the Minutemen—in my view perhaps the greatest thing ever produced by US pop music—were already second-generation postpunk, for they developed their music by engaging with British bands like Wire and Gang of Four, which in Reynolds's account are central to postpunk.
Postpunk, by contrast, took place in Brazil and Australia, in Germany and France, in Italy and the Soviet Union, in Argentina and Sweden.
www.bookforum.com /dieder.html   (770 words)

  
 Beatrice.com: Jeff Chang & Simon Reynolds, pt. 2
I was conscious of the fact that postpunk was densely populated with incredibly smart and articulate people who had a strongly defined sense of what they were doing, and this made the job different from writing about, say, electronic music, which was much more of a blank canvas for critical projection.
With postpunk, the groups get critiqued and occasionally rebuked, but the general spirit of the enterprise was supportive: as I said before, these people, for all their flaws and, often, their ultimate failure, are heroes to me.
The whole idea of being "conscious" is totally in tune with the postpunk era: being aware as being awake, not being lulled into a trance by consumerism or propaganda, constantly being in a red alert state of ideological vigilance.
www.beatrice.com /archives/001929.html   (1605 words)

  
 Nerve.com Screening Room
If they're trying to bring back postpunk, or at least the ethos of postpunk, I think they've stumbled at the first hurdle by sounding like something from twenty years ago.
Postpunk was very intellectual, and in hindsight, some of these bands were more interested in concept than in music.
The stuff that didn't age well from postpunk was the stuff that was purely concept driven.
www.nerve.com /screeningroom/books/interview_simonreynolds   (1548 words)

  
 Read
The postpunk era makes 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.
This co-existed with a powerful streak of fringe leftism that animated punk and postpunk, though the contradiction is easy enough to account for: Both were responses to a drastic spike in U.K. unemployment in the late '70s that created an avid culture of dead-enders in search of an extreme politics.
Postpunk often took this one step further and gloried in the idea of the album/band as pure commodity.
www.slate.com /toolbar.aspx?action=read&id=2137333   (4164 words)

  
 Postpunk - rFind.net   (Site not responding. Last check: 2007-09-04)
Postpunk är namnet på den specifika musikgenre som kom efter punken och inspererad av densamma, men med ambitionen att låta annorlunda, utvecklades.
Postpunken tenderar att sinsemellena låta väldigt olika, men det kan sägas att det svarta, dystra temat tycks förena musiken, vilket gör att gränsen mellan postpunk och exempelvis goth kan sägas vara något flytande, i synnerhet vad gäller nutida band.
Postpunk StartsidaSenaste nyttLänkspegelInställningarEn subkultur som kan härledas till England kring 1980.
www.rfind.net /info/Postpunk   (197 words)

  
 ultrapop - simon reynolds : rip it up and start again - postpunk 1978 : 1984
Postpunk er ett todelt begrep, det benyttes til å beskrive en strengt avgrenset musikalsk genre, såvel som å være en tidsavgrenset samlesekk for alle de nye, mer eller mindre alternative, band som oppstod rundt og etter punkens opprør.
Postpunk som tidsepoke favner derimot bredt og inkluderer motsatser som Television, Throbbing Gristle og Spandau Ballet.
Da punkens opprinnelige uttrykk til sist degenererte fullstendig og endte opp i fordrukken - og tidvis ondsinnet - Oi!, hadde postpunk for lengst forlatt sneversyn til fordel for allsidig eksperimentering.
www.ultra-pop.org /reynolds_ripitup_start.htm   (639 words)

  
 Post-postpunk for gang of aging rockers - Arts & Leisure - International Herald Tribune
The sound of postpunk - the smart underground rock from the late 1970s and early '80s that followed through on punk's iconoclasm, noise and eccentricity - has made a startling comeback.
Though few postpunk bands breached the Top 40, they left their mark on musicians a generation younger.
Reunited postpunk bands like the Pixies and Mission of Burma have found eager young audiences on tour, and now the Gang of Four is headed for the road.
www.iht.com /articles/2005/01/25/features/punk.php   (1219 words)

  
 Perfect Sound Forever: Simon Reynolds on Post-punk's roots
Yet in truth punk rock was really a historical blip, a brief interruption in the continuum of progressive music and culture that stretched from the psychedelia of 1967 to the avant-funk and industrial dub of 1979.
One thing shared by the hippies and the postpunks was the white Brit boho veneration for reggae as the ultimate "roots rock rebel" sound.
Postpunk bohemia started crumbling in the early Eighties when the Thatcher effect kicked in.
www.furious.com /perfect/simonreynolds32.html   (2101 words)

  
 Postpunk
postpunk, e post, posten, postnummer, postorder, kvällsposten, hallandsposten, göteborgsposten, post telestyrelsen, posters, göteborgs posten, postgirot, jyllands posten, östersundsposten, jönköpings posten, bergslagsposten, e postadress, postorder kläder, posten uppsala, postgiro
Bandet är inspirerat av 80-talets postpunk och har bland annat jämförts med Rapture, fast är inte lika funkiga.
Nu återuppväcker hon sitt franska arv, förundras över den svenska initiativförmågan och längtar efter att spela postpunk i bossanovatappning med Nouvelle Vague.
www.st.nu /harkiv/po/postpunk   (252 words)

  
 Rip It Up and Start Again: Postpunk 1978-1984 at instrumentuniverse.com
In the reactionary wake of 1970s punk rock came postpunk, a more complex, fragmented brand of music characterized by stark recordings, synthesizers and often cold, affected vocals.
Postpunk stands as "a fair match for the Sixties," argues Reynolds, both in terms of the amount of great music created as well as the music's connection to the "social and political turbulence" of its era (the early 1980s).
You are currently at the Rip It Up and Start Again: Postpunk 1978-1984 page at Instrument Universe, which offers Rip It Up and Start Again: Postpunk 1978-1984 at what we consider to be the best price now available on the web.
www.instrumentuniverse.com /books/r/Rock_Music_Books/Rip_It_Up_and_Start_Again_Postpunk_1978_1984_0143036726.htm   (431 words)

  
 Various Artists, Postpunk Chronicles - PopMatters Music Review
Heavily influenced by the Velvet Underground, Frank Zappa, and the Stooges, very early post-punk was characterized by its relatively uniform doom and gloom sound, though later post-punk moved away from that singular approach and became quite diverse.
Attempting to document the diversity of the post-punk musical scene in the U.K. and the U.S., Postpunk Chronicles gathers 48 tracks from the late 70s and early 80s.
Postpunk Chronicles is an admirable effort to document an enormously important phase in rock's development.
www.popmatters.com /music/reviews/various/various-postpunkchronicles.shtml   (419 words)

  
 Orlando Weekly - Music Review - Postpunk Chronicles
"Postpunk" is a pretty wobbly term, and the liner notes to the "Postpunk Chronicles" three-CD set don’t quite nail it down.
Punk, we’re told, nearly obliterated "the tyranny of musical technique." Which doesn’t explain why most of the groups here have technique to spare -- unless "technique" simply means guitar solos.
More to the point, postpunk (or "new wave") was rock’s return to traditional values after the dead end of pomp rock, art rock, et al.
www.orlandoweekly.com /music/review.asp?rid=8307   (219 words)

  
 Salon Entertainment | It's heeeeeeeeere
Rhino Records' new "Postpunk Chronicles" series goes pretty far toward separating out the reflexive kitsch from pop-'80s revivalism, and sets forth a fairly compelling version of the alternative music that really mattered at the time, for the people who really cared about what they listened to.
While punk was becoming hardcore -- which became bad hardcore, which became speed metal -- postpunk was keeping hard rock proper from choking on its own hair spray during the Mötley Crüe years and saving pop from falling entirely into the hands of megadivas and smooth-boys.
Consequently, of all the pop musics that were in service at the time, it's the one that comes off as the most modern and appealing today, even if it's among the least-chronicled and the most imperfectly championed.
www.salon.com /ent/music/feature/1999/02/03featurea.html   (1148 words)

  
 Largehearted Boy: Book Notes - Simon Reynolds
People typically have a fairly limited idea of what postpunk was about--angular, stark, punk-funk, angsty--but there was a whole other side to the music that was ethereal, dreamy-drifty, and gorgeously textured, and “Seen and Not Seen” is an exquisite example.
I guess that was their reputation, their image, their glamour in a way, and it made them both attractive and vaguely intimidating, like a challenge that you ought to put yourself through.
I wanted to include something to register the extent to which postpunk depended for its very being on the amazing fl music of this late Seventies and early Eighties--funk and disco, reggae and electro.
www.largeheartedboy.com /blog/archive/2006/02/book_notes_simo_1.html   (1435 words)

  
 brooklynvegan: Get a free postpunk haircut on tv w/ simon reynolds   (Site not responding. Last check: 2007-09-04)
Get a free postpunk haircut on tv w/ simon reynolds
Shirley Braha from New York Noise is looking for people who want to get a 'post-punk haircut' on TV.
tomorrow ill be doing a shoot for new york noise with simon reynolds to talk about his new book "rip it up and start again" on postpunk....at a barber shop while some hapless victims get postpunk / new pop haircuts by some nice old hairstylist working off of photos of musicians of the time.
www.brooklynvegan.com /archives/2006/03/get_a_free_post.html   (249 words)

  
 Ink 19 :: True North   (Site not responding. Last check: 2007-09-04)
True North, in a nutshell, is one of the most unique and nearly indescribable bands in the world of postpunk today.
Their music tends to push, pull, wobble, and explode, usually without warning, but does so in a warm and welcoming manner.
Their latest full length, Somewhat Similar combines various elements of angular postpunk, jazzy basslines, and erratic yet powerful drumming; all of the members of the band take turns singing and screaming, with Dave Diem's (of Twelve Hour Turn fame) being the most instantly recognizable.
www.ink19.com /issues/august2004/interviews/trueNorth.html   (1504 words)

  
 Pitchfork: Track Reviews - postpunk
From the optimistic title to the track's opulent Psychedelic Furs-meets-Duran Duran sound, The Killers seem bathed in the eternal yet false hope and perma-daylight of their native Las Vegas-- so much so that you (and they) almost forget that "Mr.
The race comes to a tumbling close when the band takes hold of its former reins, ending on the dime with the trademark precision that has garnered Q and Not U so many fans and so much admiration.
Posted by Nicholas B. Sylvester in postpunk on Thu: 09-18-03: 12:00 AM CDT
www.pitchforkmedia.com /page/track_reviews/genre/postpunk   (849 words)

  
 Funprox.com » Print » Black Ice - Eve EP   (Site not responding. Last check: 2007-09-04)
Black Ice is a project from two musicians from the postpunk band The Phantom Limbs.
Also the comparison with Cinema Strange and their modern version of postpunk comes to mind.
I am sure that everybody who likes the typical old-skool pre gothic sound will enjoy this record and will agree with me. But if you like punk music it will probably be the other way round.
www.funprox.com /index.php/reviews/2003_04/black-ice-eve-ep/print   (259 words)

  
 The Minor Fall, The Major Lift: MESSTHETICS   (Site not responding. Last check: 2007-09-04)
Postpunk innovators James Chance (Contortions, James White & The Blacks), Steven Daly (Orange Juice), and Vivien Goldman (NME, Melody Maker)-with more guests TBA--discuss the wildly adventurous music and radical personalities chronicled in Simon Reynolds' RIP IT UP AND START AGAIN: Postpunk 1978-1984 (Penguin Original; on sale 3/7/06).
These days Goldman lives in the East Village of New York and is the author of books like The Black Chord: Visions of the Groove and The Book of Exodus: The Making and Meaning of Bob Marley and the Wailers' Album of the Century, the latter due for publication later in 2006.
Drummer and conceptualist in Orange Juice, the celebrated Scottish band whose blend of Chic and Velvet Underground bridged the gap between postpunk, New Pop and indie-rock.
www.popfactor.com /tmftml/archives/002406.html   (523 words)

  
 How Do You Define PostPunk? - RollingStone Forums
Skvorecky defined it as any music that came after punk and was influenced by punk, but that defintion seems meaningless.
He's trying to say that Postpunk is a genre that lasted from 1978-1984 and like Punk it was an attempt to change the Rock industry...
So is the term PostPunk an attempt to differentiate between lame New Wave (probablly the one-hit synth wonders) and cool New Wave (the art rock and raggae influenced Brit bands)?
forums.rollingstone.com /showthread.php?t=1636   (1108 words)

  
 Review: Rip It Up and Start Again - Arts & Leisure - International Herald Tribune
If Reynolds wasn't aware of this when he started his research, he learned it the hard way while talking with various postpunk musicians for this book.
That's also how it went for the Clash, which made a rude noise in 1977 and sold big in 1982 with a brand of expensively produced pop that borrowed from funk and reggae.
Neither do similar acts of the era, like the Jam, the Police, X, Elvis Costello and Blondie, all of whom began by making raw music only to end up turning out more sophisticated fare tinged with soul, funk, reggae, disco, hip-hop or Latin touches.
www.iht.com /articles/2006/03/01/arts/idbriefs4c.php   (603 words)

  
 Portland Mercury - Books - Rip It Up and Start Again: Postpunk 1978-1984 by Simon Reynolds
To commemorate this postpunk renaissance, rock journalist Simon Reynolds, a former editor at Spin, has put together an exhaustive chronicle that spans from well-known acts such as Talking Heads and Joy Division, to more outré artists like Throbbing Gristle and Swell Maps.
Reynolds locates postpunk's origin at the moment Johnny Rotten shed his Sex Pistols moniker, reclaiming his real name, John Lydon, to form Public Image Ltd. From there, every avenue of postpunk in the UK and in the US is examined, from mutant disco to goth.
Reynolds, who was a teenager at the height of postpunk, presents an unapologetically loving depiction of the era.
www.portlandmercury.com /portland/Content?oid=39362&category=22148   (430 words)

  
 NYU > Office of Public Affairs > "Rip It Up & Start Again" -- Postpunk Book Showcased at NYU, Mar. 28
The event, which is free and open to the public, takes place at the NYU Bobst Library, Fales Collection (3rd floor), 70 Washington Square South.
Reynolds, a well-known music journalist, has written this critical history of the wildly adventurous music created in the years after punk.
Reynolds propels his narrative through the mix of styles, personality, and fervent philosophies that defined the postpunk era.
www.nyu.edu /public.affairs/releases/detail/1002   (305 words)

  
 Powell's Books - Review-a-Day - Rip It Up and Start Again: Postpunk 1978-1984 by Simon Reynolds, reviewed by Powells.com   (Site not responding. Last check: 2007-09-04)
According to Simon Reynolds, the postpunk door opened when Rotten, rechristened with his surname Lydon, formed Public Image Ltd, or PiL, which was a distinctively different band from the Pistols.
In addition to his insightful profiles of such luminaries as Talking Heads, Pere Ubu, Gang of Four, and Joy Division (to name just four), Reynolds also delves into the realms of their influences.
P.S. I was going to gripe that the one thing lacking in this book was any kind of a postpunk discography, but when I got around to reading the table of contents, I noticed that there are additional reader resources at the author's website: www.simonreynolds.net.
www.powells.com /pow/review/2006_03_25.html   (677 words)

  
 Powell's Books - Rip It Up and Start Again: Postpunk 1978-1984 by Simon Reynolds
Rip It Up and Start Again reminds the reader of a time when music was the only thing that mattered, of a time when the music you listened to (or didn't listen to) was the lingua franca of life as you knew it.
Rip It Up and Start Again is the first book-length exploration of the wildly adventurous music created in the years after punk.
Full of insight and anecdote and populated by charismatic characters, Rip It Up re-creates the idealism, urgency, and excitement of one of the most important and challenging periods in the history of popular music.
www.powells.com /cgi-bin/biblio?inkey=71-0143036726-0   (517 words)

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