Jul 13, 2018  Here’s The Greatest Kiwi Post-punk Band You’ve Never Heard Of. Written by Gary Steel on July 13, 2018. Witchdoctor Rating. And then leeches into the sound of dozens of post punk bands circa ’80-’83. A most excellent compilation by a group who will hopefully finally get its moment in the sun decades after their demise. Post Punk Compilation Rar. It was here where the idea for “Household Shocks” a compilation of their friend's bands was born. Containing rare.

Music genrePost-punkEtymologyRefers to certain developments after, although some groups predate the movement.Other namesNew musickStylistic origins.Cultural originsLate 1970s; United KingdomDerivative forms.Subgenres.Fusion genres.Regional scenes.Other topics.Post-punk (originally called new musick) is a broad of which emerged in the late 1970s as artists departed from the raw simplicity and traditionalism of, instead adopting a variety of sensibilities and non-rock influences. Inspired by punk's energy and but determined to break from rock, artists experimented with styles like, and; the of and; and ideas from art and politics, including,.

These communities produced, visual art, performances and.The early post-punk vanguard was represented by groups including,. The movement was closely related to the development of ancillary genres such as,. By the mid-1980s, post-punk had dissipated while providing the impetus for the movement as well much subsequent. See also: andPost-punk is a diverse genre that emerged from the cultural milieu of in the late 1970s. Originally called 'new musick', the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's template and into disparate areas.

Writer already used 'post-punk' in early 1978. Writer also stated that he had 'possibly' invented the term himself. 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. Towards the end of the decade, some journalists used ' as a for garage rock-derived acts deemed too sophisticated and out of step with.

Before the early 1980s, many groups now categorized as 'post-punk' were subsumed under the broad umbrella of ', with the terms being deployed interchangeably. 'Post-punk' became differentiated from 'new wave' after their styles perceptibly narrowed.described the term 'post-punk' as 'so multifarious that only the broadest use.

Is possible'. 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. Music historian places the ' true starting-point for English post-punk' somewhere between August 1977 and May 1978, with the arrival of guitarist in in July 1977, 's first album, 's new musical direction in 1978 and the formation of. Music historian wrote that the debut albums of those bands layered the foundations of post-punk.' 2005 book 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. Wilkinson characterized Reynolds' readings as 'apparent revisionism and 'rebranding '.

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'. 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. Reynolds defined the post-punk era as occurring roughly between 1978 and 1984.

He advocated that post-punk be conceived as 'less a genre of music than a space of possibility', 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'. Employs 'post-punk' to denote 'a more adventurous and arty form of punk'. Characteristics Many post-punk artists were initially inspired by punk's and energy, but ultimately became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, and self-parody.

They repudiated its claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyond punk's focus on the concerns of a largely white, male, working-class population and abandoned its continued reliance on established tropes, such as three-chord progressions and -based.

The use of bass is also prominent on many post-punk records either as a lead instrument by artists like Gang of Four or PiL or in a more funkier aspect as done by Talking Heads, Pylon etc. In many post-punk records the bass is often the lead instrument while the guitar weaves a pattern around the bass parts. These artists instead defined punk as 'an imperative to constant change', believing that 'radical content demands radical form'.Though the music varied widely between regions and artists, the post-punk movement has been characterized by its 'conceptual assault' on rock conventions and rejection of aesthetics perceived of as, or in favor of experimentation with production techniques and non-rock musical styles such as, and the.

Some previous musical styles also served as touchstones for the movement, including particular brands of, and other music from the 1960s. Artists once again, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like and as well as paradigms that defined ', as art, as 'sterile' studio perfectionism. By adopting an avant-garde aesthetic'. 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'.Nicholas Lezard described post-punk as 'a fusion of art and music'.

The era saw the robust appropriation of ideas from literature, art, cinema, politics and into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as. Reynolds noted a preoccupation among some post-punk artists with issues such as, and technocracy of Western. Among major influences on a variety of post-punk artists were writers such as and, such as and, and intellectual movements such as. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious, which played important roles in the production of art, multimedia performances, and related to the music. Many post-punk artists maintained an approach to recording and instead seized on alternate means of producing and releasing music.

Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement. 1977–79: Early years Background. 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 (founded by record shop owner ), (founded by -based television personality ), and (co-founded by Bob Last and Hilary Morrison). By 1977, groups began pointedly pursuing methods of releasing music independently, an idea disseminated in particular by ' release of their EP on their own label as well as the self-released 1977 singles of. These imperatives would help form the production and distribution infrastructure of post-punk and the scene that later blossomed in the mid-1980s.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. 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 ' and 'massively accented drumming'. Editor Pat Gilbert said, 'The first truly post-punk bands were Siouxsie and the Banshees', noting the influence of the band's use of repetition on. Similarly argued that the very first Banshees gig was 'proto post-punk' due to the hypnotic rhythm section. In January 1978, singer (then known as Johnny Rotten) announced the break-up of his pioneering punk band the, citing his disillusionment with punk's musical predictability and cooption by commercial interests, as well as his desire to explore more diverse territory. In May, Lydon formed the group with guitarist and bassist, the latter who declared 'rock is obsolete' after citing as a 'natural influence'. 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.' United Kingdom.

See also: andAround this time, acts such as Public Image Ltd, and had begun experimenting with dance music, dub production techniques and the avant-garde, while punk-indebted Manchester acts such as, and developed unique styles which drew on a similarly disparate range of influences across music and modernist art. Bands such as, and incorporated political philosophy and their own studies in their work. The unorthodox studio production techniques devised by producers such as, and 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.

' is sometimes regarded as the first post-punk record. Upon release, it received massive acclaim for its bridging of politics and rock music and abrasiveness with accessibility.Problems playing this file? See.Credit for the first post-punk record is disputed, but strong contenders include the debuts of Magazine (', January 1978), Siouxsie and the Banshees (', August 1978), Public Image Ltd (', September 1978), Cabaret Voltaire (, November 1978) and Gang of Four (', December 1978).A variety of groups that predated punk, such as and, experimented with and electronic instruments in tandem with methods and influence from, ultimately helping to pioneer.

Throbbing Gristle's independent label would become a hub for this scene and provide it with its namesake. A pioneering during the mid-1970s also fostered influential post-punk acts like, who eventually relocated to the UK to join its burgeoning music scene.As these scenes began to develop, British music publications such as and Sounds developed an influential part in the nascent post-punk culture, with writers like Savage, and 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', Wire's and American band 's. In 1979, NME championed records such as PiL's, Joy Division's, Gang of Four's, Wire's, ' and American group ' album.Siouxsie and the Banshees, Joy Division, and were the main post-punk bands who shifted to dark overtones in their music, which would later spawn the scene in the early 80s.

Members of Siouxsie and the Banshees and the Cure worked on records and toured together regularly until 1984. Grew out of the British post-punk scene in the late 1970s.

The genre later flourished into a more widespread and international movement of artists who applied the spirit of to new sounds and techniques. Other styles such as and industrial dub also emerged around 1979. United States.

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Were one of the only American post-punk bands to reach both a large cult audience and the mainstream.In the mid-1970s, various American groups (some with ties to 's punk scene, including and ) had begun expanding on the vocabulary of punk music. Groups such as and drew inspiration from the region's derelict, employing conceptual art techniques, and unconventional verbal styles that would presage the post-punk movement by several years. A variety of subsequent groups, including the -based and the New York-based Talking Heads, combined elements of punk with art school sensibilities.

In 1978, the latter band began with British pioneer and ex- member, experimenting with lyrical techniques, electronic sounds,. 's vibrant post-punk scene was centered on such groups as, and, whose influences extended to multimedia experimentation, and the of 's.Also emerging during this period was downtown New York's movement, a short-lived, 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 worldview. No wave musicians such as, and instead experimented with noise, and in addition to non-rock styles. The former four groups were included on the Eno-produced compilation (1978), often considered the quintessential testament to the scene. The decadent parties and art installations of venues such as and the would become cultural hubs for musicians and visual artists alike, with figures such as, and frequenting the scene. According to writer Steve Anderson, the scene pursued an abrasive reductionism which 'undermined the power and mystique of a rock vanguard by depriving it of a tradition to react against'. Anderson claimed that the no wave scene represented 'New York's last stylistically cohesive avant-rock movement'.

See also:British post-punk entered the 1980s with support from members of the critical community—American critic characterised 'Britain's postpunk pop avant-garde' in a 1980 article as 'sparked by a tension, humour and sense of paradox plainly unique in present-day pop music' —as well as media figures such as DJ, while several groups, such as PiL and Joy Division, achieved some success in the popular charts. The network of supportive that included Industrial, Fast, and continued to facilitate a large output of music.

By 1980, many British acts, including Magazine, Essential Logic, and also became part of these fledgling post-punk scenes, which centered on cities such as and Manchester.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. Morley's own musical collaboration with engineer and programmer, would attempt to bring and electronic sounds to the pop mainstream.

Post-punk artists such as Scritti Politti's and 's, previously engaged in avant-garde practices, turned away from these approaches and pursued mainstream styles and commercial success. 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.

Acts like (left) dealt heavily in outlandish fashion, while artists such as (right) made use of electronics and visual stylization.Several more pop-oriented groups, including, and (the latter two managed by former Sex Pistols manager ) emerged in tandem with the development of the subcultural scene. 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, and helped pioneer a new style that drew more heavily from electronic and synthesizer music and benefited from the rise of. Downtown Manhattan and elsewhere.

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 ' (1981) highlighting a newly playful sensibility borne out of the city's clash of, disco and punk styles, as well as dub reggae and world music influences. Artists such as, and pursued a formula described by as 'anything at all + disco bottom'. Other no wave-indebted artists such as, and instead continued exploring the early scene's forays into noise and more abrasive territory.In Germany, groups such as developed a unique style of industrial music, utilizing avant-garde noise, homemade instruments and found objects. Members of that group would later go on to collaborate with members of the Birthday Party.

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 becoming a popular concept. In the United States, driven by and modern rock radio stations, a number of post-punk acts had an influence on or became part of the of ' there. Some shifted to a more commercial new wave sound (such as Gang of Four), while others were fixtures on American and became early examples of, such as Athens, Georgia band. One band to emerge from post-punk was, which infused elements of religious imagery and political commentary into its often anthemic music.

Main article:According to post-punk revival, the movement was really more analogous to a continuum, one that could be traced back as early as the mid-'80s; scattered bands like, and, all of whom seemed like natural extensions of post-punk. Some of the more notable bands that recalled the original era during the early and mid-'90s included,.

At the turn of the century, the term 'post-punk' began to appear in the music press again, with a number of critics reviving the label to describe a new set of bands that shared some of the aesthetics of the original post-punk era. During this time several post-punk and new wave inspired bands emerged, including, and, establishing the movement. As with the post-punk and new wave bands of the late '70s and early '80s, there was a lot of diversity in the approaches of the post-punk/new wave revivalists, ranging from atonal scrap heaps to hyper-melodic pop songs. Critical recognition In the early 2000s, Reynolds asserted that the post-punk period produced significant innovations and music on its own. 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'. 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'.

List of bands. Bannister, Matthew (2007).

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Backbeat Books. CS1 maint: ref=harv. Cateforis, Theo (2011).

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CS1 maint: ref=harv. (2007). Babylon's Burning: From Punk to Grunge. Viking, Penguin. CS1 maint: ref=harv. (2009). Omnibus Press.

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(2005). CS1 maint: ref=harv. (2010). Totally Wired: Postpunk Interviews and Overviews. CS1 maint: ref=harv.

(2013). In Cateforis, Theo (ed.). The Rock History Reader. CS1 maint: ref=harv. Taylor, Steven (2003).

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(1981) Inner City Sound: Punk and Post-Punk in Australia, 1976-1985 Sydney: Wild & Woolley. (1996), Sydney: Pan Macmillan. Wilkinson, David (2016). CS1 maint: ref=harv Further reading. McNeil, Legs; McCain, Gillian (1997).

Please Kill Me: The Uncensored Oral History of Punk. London: Little, Brown Book Group.External links Wikimedia Commons has media related to. at.