Thanks to the Catch22 for hosting this event and thanks to Dj Bambs for having had the guts and the idea of such a truly alternative place.
During the first wave of punk, roughly spanning 1974–1978, acts such as the Sex Pistols, The Clash, The Ramones, and The Damned began to challenge the current styles and conventions of rock music by stripping the musical structure down to a few basic chords and progressions with an emphasis on speed. Yet as punk itself soon came to have a signature sound, a few acts began to experiment with more challenging musical structures, lyrical themes, and a self-consciously art-based image, while retaining punk's initial iconoclastic stance.
Typically more introverted, complex, arty, and experimental than classic punk rock or the more pop-oriented New Wave music, post-punk laid the groundwork for alternative rock by broadening the idea of what punk and underground music could do, incorporating elements of Krautrock (specifically in the use of synthesizers), Jamaican dub music, American funk, studio experimentation, and even punk's traditional polar opposite, Disco, into the punk rock genre. It found a firm place in the 1980s indie scene, and left behind several major sub-genres, including Shoegaze, Industrial, Gothic rock, Post-Hardcore, College Rock, and Madchester. However, post-punk's biggest influence remains in the vast variety of sounds and styles it pioneered, many of which proved very influential in the later alternative rock scene.
Classic examples of post-punk outfits include The Fall, Gang of Four, Orange Juice, Joy Division, Echo & the Bunnymen, The Cure, Ultravox, and Wire. Bands such as Crass and Throbbing Gristle also came within the scope of post-punk, as with several outfits formed in the wake of traditionally punk rock groups: Magazine from Buzzcocks, for instance, or Public Image Ltd. from the Sex Pistols. A list of predecessors to the post-punk genre of music might include Television, whose album Marquee Moon, although released in 1977 at the height of the punk movement, is considered definitively post-punk in style. (However, many would argue that bands such as Television, Talking Heads, and the Voidoids were all core punk, as it was the raw originality and diversity of sound and style that was punk.) Other groups, such as The Clash, remained predominantly punk in nature yet inspired and were inspired by elements in the post-punk movement.
Championed by late night BBC disc jockey John Peel and record label/shop Rough TradePostcard Records, Factory Records, Axis/4AD, Falling A Records, Industrial Records, Fast Product, and Mute Records), "post-punk" could arguably be said to encompass many diverse groups and musicians. The original post-punk movement took place largely in the United Kingdom, with significant scenes throughout the world, though North American and other non-British bands weren't often recognized worldwide. Some notable exceptions include North Americans Pere Ubu, Suicide, Savage Republic, early Hüsker Dü and Mission of Burma, Australia's The Birthday Party, The Church, and Ireland's U2 and The Virgin Prunes. (amongst others, including
Around 1977, in North America, the New York led No Wave movement was also tied in with the emerging eurocentric post-punk movement. With bands and artists such as Teenage Jesus and the Jerks, Glenn Branca, Mars, James Chance and the Contortions, D.N.A., Bush Tetras, Theoretical Girls, Swans, and Sonic Youth on their first self-titled album. The No Wave movement focused more on performance art than actual coherent musical structure. The Brian Eno produced No New York compilation is considered the quintessential testament to the history of No Wave.
The original post-punk movement ended as the bands associated with the movement moved away from its aesthetics, just as post-punk bands had originally left punk rock behind in favor of new sounds. Many post-punk bands, most notably The Cure and Siouxsie & the Banshees, evolved into gothic rock (formerly a style of the larger post-punk movement) and became identified with the goth subculture. Some shifted to a more commercial New Wave sound, while others were fixtures on American college radio and became early examples of alternative rock. Credit for the gradual evolution of post-punk into alternative rock is largely attributed to the band R.E.M..
The turn of the 21st century saw a post-punk revival in British and American indie rock, which soon started appearing in many different countries as well. The earliest signs of a post-punk revival took place with the emergence of various underground bands in the mid-90's. However, the first commercially successful bands The Rapture, Liars, Interpol, The Killers, and Franz Ferdinand surfaced in the late 90's to early 00's. These bands made music with recognizable post-punk influences, even accompanied with arty, almost modish fashions copied from original post-punk bands. Modern post-punk is far more commercially successful than in the 1970s and 1980s. The post-punk revival is unique in modern rock trends, in that it has retained a strong following even after similar 80's revival genres such as electroclash have fallen out of style.]*******
An album that sees a perfect marriage of the sensibilities of the first album, and the stylistical approach of the second. We instantly recognize the atmosphere of ritualistic decadence; the crack of the whip, the ecstatic moans, and the sound of high heels. These attributes of sacrilege and fetishism blend seamlessly with the sounds of the acoustic guitars, chimes, and celestial strings - turning this album into an unequalled exposÈ of apocalyptic industrial folk music at its best.
I also posted track06 and track07 on the player so you can listen to an extract of the album :)
and here are the lyrics of the same tracks
'Cleansing the Tainted Face of Reason'
When reason is dead and the fools are made kings,the wind will decline and the trees will stop singingWhen balance is lost and silence is gold,not much will remain of the truth that we toldWhen love is condemned and weakness is might,then lonesome are we who succumb to the delightWhen yielding is just and vassals adored,then life will decline to upsurge no more
When pleasure and sorrow are pledged to be wed,the sun and the moon will descend to be deadWhen falsehood is honored for tainting truth,the ending is near and our lives destituteWhen comfort has died to leave room for remorse,then hope is forlorn both with kingdom and horseBut facing the end with a grin and a sword,injustice will part to the sound of discord
'The Perplexity of Hybris. I Glorify Myself'
Among the roses where I stand,
torn and scratched disguised by blood
,I watch the puppets stagger in their unlife,
caught in the web of perplexity
'I glorify myself
I glorify myself for who I am
I glorify myself
I glorify myself for what I am'
Screams of frustration echo,
while my feet walk across the shells of the damned
In these realms of demise,
where life seeks its mark
Listen to my laughter,
high upon the wind
I walk the path of my choice,
trampling those who seek to stand in my way
A bright glowing star,
shines almost invisible,
down into the crypts in the city of worms,
where life pursues in darkness
This is my life,
and I rightfully praise myself for my accomplishments
My intellect guides me,
as my life ceaselessly progresses
What is Hybris in a world that thrives on contempt?
What is Hybris in a world that fosters shame?
What is Hybris in a world where blind are made to lead?
What is Hybris in a world where abstinence is a deed?
What is Hybris in world where the fools are highly praised?
What is Hybris for a god in a world of the impaled?
What is Hybris for a god in a world that spews on strength?
What is Hybris in a world where virtue is repent?