Post-punk

Post-punk er en bred genre rockemusikk som oppsto fra punkebevegelsen på slutten av 1970-tallet. Denne bevegelsen var nært beslektet med utviklingen av musikksjangre som gotisk rock, nypsykedelisk musikk, no wave, og industriell musikk.

Post-punkmusikerne stod i opposisjon til pompøs mainstream-rock som blant andre The Eagles, Emerson, Lake & Palmer og Electric Light Orchestra spilte. De eksperimenterte i stedet med å tilføre punkmusikken elementer fra elektronisk musikk og svart dansemusikk, og tok i bruk innovative innspillingsteknikker.^[1] Musikken handlet ofte om kunst og politikk, og post-punkerne var inspirert av kritisk teori, modernistisk kunst og litterær modernisme.^[2]^[3] Det utviklet seg miljøer rundt musikken som opprettet uavhengige plateselskap eller skapte visuell kunst, multimedia-forestillinger og fanziner.

Tidlige eksempler er grupper som Siouxsie and the Banshees, Wire, Magazine, Gang of Four, Public Image Ltd, The Pop Group, Joy Division, Throbbing Gristle, The Slits, Cabaret Voltaire, The Cure, The Fall, Au Pairs, Talking Heads og Pere Ubu.^[4] På midten av 1980-tallet var post-punkbølgen i ferd med å flate ut, men den hadde banet vei for ny-pop og ikke minst alternativ rock.

Referanser

^ Sommer, Tim (10. juni 2016): «Post-Punk 101: What Is Post-Punk?», Observer
^ Reynolds, Simon: «It Came From London: A Virtual Tour of Post-Punk's Roots», Time Out London.
^ Reynolds, Simon (2005): Rip It Up and Start Again: Postpunk 1978–1984, s. xxxi.
^ Heylin (2007), sitat: «If there is a 'true' starting-point for English post-punk, it may be Siouxsie & the Banshees' recruitment of guitarist John McKay, or the formation of Magazine and PiL, which places it somewhere between August 1977 and May 1978. Or perhaps Wire's decision to turn from a quintet into a quartet and slow down the songs in January 1977»; Reynolds (2013), s. 210, sitat: «... the 'post-punk vanguard'—overtly political groups like Gang of Four, Au Pairs, Pop Group ...»; Kootnikoff (2010), s. 30, sitat: «[Post-punk] bands like Joy Division, Gang of Four, and the Fall were hugely influential»; Cavanagh (2015), s. 192–193, sitat: «So far this year [1979] Peel has played several bands – Gang of Four, Cabaret Voltaire, the Cure, PiL, Throbbing Gristle – who will be synonymous with post-punk, but perhaps the most important ... are Joy Division»; Bogdanov, Woodstra & Erlewine (2002), s. 1337, sitat: «Their music [Pere Ubu] ... set the pace for much of American post-punk ... One of the only American post-punk bands to reach both a large cult audience and the mainstream were Talking Heads»; Cateforis (2011), s. 26, sitat: «Writers like Jon Savage threw their loyalties behind the more overtly experimental and radical musical deconstructions of groups like Devo, Throbbing Gristle, Siouxsie and the Banshees, the Slits, and Wire.»

Litteratur

Bannister, Matthew (2007): White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Ashgate Publishing, Ltd. ISBN 978-0-7546-8803-7.
Bogdanov, Vladimir; Woodstra, Chris; Erlewine, Stephen Thomas, red. (2002): All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul. Backbeat Books. ISBN 978-0-87930-653-3.
Cateforis, Theo (2011): Are We Not New Wave: Modern Pop at the Turn of the 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 & Faber. ISBN 978-0-571-30248-2.
Dale, Pete (2016): Anyone Can Do It: Empowerment, Tradition and the Punk Underground. Routledge. ISBN 978-1-317-18025-8.
Greene, Doyle (2014): The Rock Cover Song: Culture, History, Politics. McFarland. ISBN 978-1-4766-1507-3.
Heylin, Clinton (2007): Babylon's Burning: From Punk to Grunge. Viking, Penguin. ISBN 978-0-14-102431-8.
Lester, Paul (2009): Gang of Four: Damaged Gods. Omnibus Press. ISBN 978-0-85712-020-5.
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 978-0-571-21570-6.
Reynolds, Simon (2010): Totally Wired: Postpunk Interviews and Overviews. Soft Skull Press. ISBN 1593763948.
Reynolds, Simon (2013): «Post-Punk's Radical Dance Fictions» i: Cateforis, Theo: The Rock History Reader. Routledge. ISBN 978-0-415-89212-4.
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.