Dance-punk

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Dance-punk (also known as disco-punk, punk-funk or techno-punk) is a post-punk subgenre that emerged in the late 1970s, and is closely associated with the post-disco and new wave movements. [2]

Contents

Predecessors

Many groups in the post-punk era adopted a more danceable style. These bands were influenced by funk, disco, new wave, and other dance music popular at the time (as well as being anticipated by some artists from 1970s including Sparks [3] and Iggy Pop). Influential bands from the 1980s included Talking Heads, Public Image Ltd., [4] [5] New Order, [6] Gang of Four, [2] [5] [7] the Higsons, the Clash, the Pop Group, Maximum Joy, The Brainiacs, Big Boys, Minutemen, and Red Hot Chili Peppers. [8] New York City dance-punk included Defunkt, Material, [9] James Chance and the Contortions, [2] Cristina Monet, Bush Tetras, ESG, and Liquid Liquid. [10] German punk singer Nina Hagen had an underground dance hit in 1983 with "New York / N.Y.", which mixed her searing punk (and opera) vocals with disco beats. [2]

Contemporary dance-punk

Dance-punk was revived among some bands of the garage rock/post-punk revival in the early years of the new millennium, particularly acts such as LCD Soundsystem, Clinic, Death from Above 1979, !!!, Liars, Franz Ferdinand, Yeah Yeah Yeahs, Bloc Party, Kasabian, You Say Party, the Faint, Arctic Monkeys, the Rapture, Shout Out Out Out Out, and Radio 4, joined by dance-oriented acts who adopted rock sounds such as Out Hud, [11] or Californian acts like !!! and Moving Units. In the early 2000s Washington, D.C. had a popular and notable punk-funk scene, inspired by Fugazi, post-punk, and go-go acts like Trouble Funk and Rare Essence, including bands like Q and Not U, Black Eyes, and Baltimore's Oxes, Double Dagger, and Dope Body. In Britain the combination of indie with dance-punk was dubbed new rave in publicity for Klaxons and the term was picked up and applied by the NME to bands [12] including Trash Fashion, [13] New Young Pony Club, [14] Hadouken!, Late of the Pier, Test Icicles, [15] and Shitdisco [12] forming a scene with a similar visual aesthetic to earlier raves. [12] [16]

See also

Related Research Articles

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New wave is a broad music genre that encompasses numerous pop and rock styles from the late 1970s and the 1980s. It was originally used as a catch-all for the music that emerged after punk rock, including punk itself, but may be viewed retrospectively as a more accessible counterpart of post-punk. Although new wave shared punk's DIY philosophy, the artists were more influenced by the lighter strains of 1960s pop while opposed to mainstream "corporate" rock, which they considered creatively stagnant, and the generally abrasive and political bents of punk rock.

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The Pop Group

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British rock music

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Nu-disco is a 21st-century dance music genre associated with a renewed interest in the late 1970s US disco, synthesizer-heavy 1980s European dance music styles, and early 1990s electronic dance music. The genre was especially popular in the first half of the 2000s, and experienced another mild resurgence through the 2010s.

Simon Reynolds English music critic (born 1963)

Simon Reynolds is an English music journalist and author who began his professional career on the staff of Melody Maker in the mid-1980s, and has since gone on to freelance and publish a number of full-length books on music and popular culture, ranging from historical tomes on rave music, glam rock, and the post-punk era to critical works such as Retromania: Pop Culture's Addiction to Its Own Past (2011).

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Electronics in rock music

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Post-punk is a broad genre of rock music that emerged in the late 1970s as artists departed from the raw simplicity and traditionalism of punk rock, instead adopting a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with styles like funk, electronic music, jazz, and dance music; the production techniques of dub and disco; and ideas from art and politics, including critical theory, modernist art, cinema and literature. These communities produced independent record labels, visual art, multimedia performances and fanzines.

Boogie is a rhythm and blues genre of electronic dance music with close ties to the post-disco style, that first emerged in the United States during the late 1970s to mid-1980s. The sound of boogie defined by bridging acoustic and electronic musical instruments with emphasis on vocals and miscellaneous effects later evolved into electro and house music.

Avant-funk is a music style in which artists combine funk rhythms with an avant-garde or art rock mentality. Its most prominent era occurred in the late 1970s among post-punk acts who embraced black dance styles.

References

  1. Warwick, Kevin. "All that sass: The albums that define the '00s dance-punk era". The A.V. Club . Retrieved 9 February 2019.
  2. 1 2 3 4 Rip It Up and Start Again: Post Punk 1978-1984.Simon Reynolds.Faber and Faber Ltd, April 2005, ISBN   0-571-21569-6 (U.S. Edition: Penguin, February 2006, ISBN   0-14-303672-6)
  3. "Young Americans - David Bowie | Songs, Reviews, Credits | AllMusic". AllMusic . Retrieved 7 January 2021.
  4. "Metal Box - Public Image Ltd. | Songs, Reviews, Credits | AllMusic". AllMusic . Retrieved 7 January 2021.
  5. 1 2 Swaminathan, Nikhil (2003-12-25) - Dance-punk ends scenester dormancy Archived 2007-11-22 at the Wayback Machine
  6. Billy Corgan joins New Order; in canoe.com, 2004. Access date: December 11, 2016.
  7. "Gang of Four | Biography & History". AllMusic. Retrieved 7 January 2021.
  8. "Tinderbox - Siouxsie and the Banshees | Songs, Reviews, Credits | AllMusic". AllMusic . Retrieved 7 January 2021.
  9. "Material | Biography & History". AllMusic. Retrieved 7 January 2021.
  10. "Talking Heads | Biography & History". AllMusic. Retrieved 7 January 2021.
  11. M. Wood, "Review: Out Hud: S.T.R.E.E.T. D.A.D.", New Music, 107, November 2002, p. 70.
  12. 1 2 3 K. Empire, "Rousing rave from the grave" The Observer, 5 October 2006, retrieved 9 January 2008.
  13. P. Flynn, "Here We Glo Again", Times Online, 12 November 2006, retrieved 13 February 2009.
  14. J. Harris, "New Rave? Old Rubbish", The Guardian , 13 October 2006, retrieved 31 March 2007.
  15. O. Adams, "Music: Rave On, Just Don't Call It 'New Rave'", The Guardian , 5 January 2007, retrieved 2 September 2008.
  16. P. Robinson, "The future's bright...", The Guardian , 3 February 2007, retrieved 31 March 2007.

Bibliography