Post-no wave

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Post-no wave is a form of experimental rock music that emerged from, or drew its inspiration from, the no wave scene. It's considered to have arisen after the disintegration of the original scene in 1980, expanding beyond its New York City boundaries. [1] [2] It further differs from no wave by exploring new music genres, making use of modern technology and studio techniques, embracing rock [2] [3] [4] [5] or funk [6] idioms, a greater rhythmic complexity or a tongue-in-cheek nihilistic humor. [7] As a result, post-no wave usually fuses the angular and deconstructive approach of its predecessor with a more song-oriented sound. [8] [9] [10] [11]

Contents

Significant examples of post-no wave bands can be found in the works from former scenesters [2] [3] [4] and new acts that were shaped by no wave in the 1980s —like Rat at Rat R, [1] Sonic Youth and Swans [5] [12] [13] —, the ephemeral Chicago No Wave scene in the 1990s [14] [15] [16] [17] and a nebula of scattered artists since the 2000s —such as Erase Errata, [18] [19] [20] [21] Talk Normal, [22] [23] [24] Liars [25] [26] and Girl Band [27] [28] [29] —.

History

Shortly after the recording of No New York in 1978, no wave, as an avant-garde movement and music scene, started disintegrating. The Gynecologists disbanded in 1978, Mars followed between 1978/1979, Teenage Jesus and the Jerks in 1979, Theoretical Girls in 1981, James Chance and the Contortions in 1981 and DNA in 1982. Several key artists then focused on non-musical projects or delved into more accessible rock genres. Lydia Lunch went on a solo career as a post-punk act, Rhys Chatham and Glenn Branca developed totalism in electric guitar ensembles, Arto Lindsay embarked on free improvisation and avant-garde jazz collaborations; others, such as Ut, The Lounge Lizards and Mofungo, continued playing until the 1990s, but far removed from their no wave roots. During this period, posthumous studio recordings and VV.AA. compilations [30] from the scene were published for the first time, contributing to its underground popularity. While new generations of musicians outside the scene and from all around the world had been influenced by no-wave music, played with former scenesters —for instance, members from Sonic Youth and Swans played in Chatham's and Branca's ensembles— or claimed to be its successors. Thus, no longer a scene or a movement, a post-no wave came into existence.

Although other expressions have been used to describe this kind of music (now wave, [31] a second wave of no wave [5] or no wave revival [20] ), Marc Masters helped popularize the term post-no wave in the 2000s, [1] [15] [22] following its coinage in the 1990s [32] [33]

See also

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References

  1. 1 2 3 Masters, Marc (2007). No Wave. London: Black Dog Publishing. ISBN   978-1906155025.
  2. 1 2 3 Moore, Thurston; Coley, Byron (2008). No Wave: Post-Punk. Underground. New York. 1976-1980. New York: Abrams Books. ISBN   978-0810995437.
  3. 1 2 Mamone, Jordan (2021). "Don King". Trouser Press .
  4. 1 2 Scaruffi, Piero (1999). "Mofungo". Scaruffi .
  5. 1 2 3 Calvert, John (2014). "A Beginner's Guide to No Wave, New York's Middle Finger to the World". Fact (UK magazine) .
  6. ↑ Reynolds, Simon (2006). Rip It Up and Start Again: Postpunk 1978-1984. New York: Penguin Books. ISBN   0143036726.
  7. ↑ Anonymous (2019). "Chicago No Wave". Co-Prosperity .
  8. ↑ Abebe, Nitsuh. "Long Hair in Three Stages - U.S. Maple". AllMusic .
  9. ↑ McLeod, Kembrew (1996). "Thurston Moore & John Fahey Confuse & Delight". MTV .
  10. ↑ Aspray, Benjamin (2011). "Sonic Youth: SYR 9: Simon Werner a Disparu". PopMatters .
  11. ↑ Deming, Mark. "Sonic Youth - Sister". AllMusic .
  12. ↑ Soulsby, Nick (2018). Swans: Sacrifice and Transcendence: The Oral History. London: Jawbone Press. ISBN   978-1911036395.
  13. ↑ Browne, David (2009). Goodbye 20th Century: A Biography of Sonic Youth. London: Ingram Publisher Services. ISBN   978-0306816031.
  14. ↑ Light, G. E. (2006). "'90's Noise". Perfect Sound Forever .
  15. 1 2 Masters, Marc (2006). "Lake of Dracula: Skeletal Remains Album Review". Pitchfork .
  16. ↑ Nelson, J. R.; Galil, Leor (2019). "Chicago no wave celebrates itself". Chicago Reader .
  17. ↑ Patten, Burke (2014). "Chicago No Wave Audio Documentary". Bandcamp .
  18. ↑ Anonymous (2002). "Erase Errata challenges listeners to think outside the lines of dance, noise and rock". Prefixmag .
  19. ↑ Shepherd, Julianne (2003). "No Wave Not No Wave". Portland Mercury .
  20. 1 2 Sanneh, Kelefa (2003). "ROCK REVIEW; A Bit of the No-Wave Revival Visiting From the West". The New York Times .
  21. ↑ Adams, Gregory (2015). "Erase Errata Call It Quits". Exclaim! .
  22. 1 2 Masters, Marc (2009). "Talk Normal: Sugarland". Pitchfork .
  23. ↑ Davies, Bree (2010). "Talk normal is no no-wave band". The A.V. Club .
  24. ↑ Fitzpatrick, Will (2013). "Talk Normal - Sunshine". The Line of Best Fit .
  25. ↑ Lavagna, M.; Savini, F. (2006). "Liars - Drum's Not Dead". Ondarock .
  26. ↑ Schirossi, Mimma (2018). "Liars. L'aftershock della no wave". Ondarock .
  27. ↑ Chick, Stevie (2015). "Girl Band review – the last rave before the apocalypse". The Guardian .
  28. ↑ Sánchez Gárate, Miguel Ángel (2015). "Girl Band - Holding Hands With Jamie". Mondosonoro .
  29. ↑ Wright, Danny (2019). "Girl Band - The Talkies". Crack Magazine .
  30. ↑ Noise Fest (1981), Just Another Asshole #5 (1981), Peripheral Vision (1982), State of the Union (1982, 1992, 1996), Tellus (#1 (1983); #2, #3, #5 and #6 (1984); #8 USA/Germany and #10 All Guitars! (1985)), Speed Trials (1985), Island of Sanity: New Music From New York City (1987), etc.
  31. ↑ "CAMP SKiN GRAFT: Now Wave". Bandcamp . 1997.
  32. ↑ Margasak, Peter (1995). "Rock 'n' Roll: they're queer, they're here, get into it". Chicago Reader .
  33. ↑ Coley, Byron (1995). "Noisemakers". Chicago Reader .
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