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Post-no wave
From Wikipedia, the free encyclopedia
| Post-no wave | |
|---|---|
| Etymology | Refers to certain developments after no wave |
| Other names | Second wave of no wave, no wave revival, now wave |
| Stylistic origins | |
| Cultural origins | Early 1980s, United States |
| Fusion genres | |
| Brutal prog | |
| Local scenes | |
| Chicago No Wave | |
| Other topics | |
Post-no wave is a form of experimental rock music that emerged out of, 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].
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
[edit]1980s
[edit]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 accesible 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 former scenesters were published, contributing to its underground popularity. While new generations of musicians outside the scene and from all around the world were influenced by no wave music, played with former scenesters —for instance, several members from Sonic Youth and Swans played in Chatham's and Branca's ensembles— or outright claimed to be its successors. Thus, a post-no wave sound came into existence.
Etymology
[edit]Although other expressions have been used to describe this kind of music (now wave[31], 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].
References
[edit]- ^ a b c Masters, Marc (2007). No Wave. London: Black Dog Publishing. ISBN 190615502X.
- ^ a b c Moore, Thurston; Coley, Byron (2008). No Wave: Post-Punk. Underground. New York. 1976-1980. New York: Abrams Books. ISBN 0810995433.
- ^ a b Mamone, Jordan (2021). "Don King". Trouser Press.
- ^ a b Scaruffi, Piero (1999). "Mofungo". Scaruffi.
{{cite web}}: CS1 maint: url-status (link) - ^ a b c Calvert, John (2014). "A Beginner's Guide to No Wave, New York's Middle Finger to the World". Fact (UK magazine).
- ^ Reynolds, Simon (2006). Rip It Up and Start Again: Postpunk 1978-1984. New York: Penguin Books. ISBN 0143036726.
- ^ Anonymous (2019). "Chicago No Wave". Co-Prosperity.
{{cite web}}: CS1 maint: url-status (link) - ^ Abebe, Nitsuh. "Long Hair in Three Stages - U.S. Maple". AllMusic.
- ^ McLeod, Kembrew (1996). "Thurston Moore & John Fahey Confuse & Delight". MTV.
- ^ Aspray, Benjamin (2011). "Sonic Youth: SYR 9: Simon Werner a Disparu". PopMatters.
- ^ Deming, Mark. "Sonic Youth - Sister". AllMusic.
- ^ Soulsby, Nick (2018). Swans: Sacrifice and Transcendence: The Oral History. London: Jawbone Press. ISBN 1911036394.
- ^ Browne, David (2009). Goodbye 20th Century: A Biography of Sonic Youth. London: Ingram Publisher Services. ISBN 0306816032.
- ^ Light, G. E. (2006). "'90's Noise". Perfect Sound Forever (magazine).
- ^ a b Masters, Marc (2006). "Lake of Dracula: Skeletal Remains Album Review". Pitchfork.
- ^ Nelson, J. R.; Galil, Leor (2019). "Chicago no wave celebrates itself". Chicago Reader.
- ^ Patten, Burke (2014). "Chicago No Wave Audio Documentary". Bandcamp.
{{cite web}}: CS1 maint: url-status (link) - ^ Anonymous (2002). "Erase Errata challenges listeners to think outside the lines of dance, noise and rock". Prefixmag.
- ^ Shepherd, Julianne (2003). "No Wave Not No Wave". Portland Mercury.
- ^ a b Sanneh, Kelefa (2003). "ROCK REVIEW; A Bit of the No-Wave Revival Visiting From the West". The New York Times.
- ^ Adams, Gregory (2015). "Erase Errata Call It Quits". Exclaim!.
- ^ a b Masters, Marc (2009). "Talk Normal: Sugarland". Pitchfork.
- ^ Davies, Bree (2010). "Talk normal is no no-wave band". The A.V. Club.
- ^ Fitzpatrick, Will (2013). "Talk Normal - Sunshine". The Line of Best Fit.
- ^ Lavagna, M.; Savini, F. (2006). "Liars - Drum's Not Dead". Ondarock.
- ^ Schirossi, Mimma (2018). "Liars. L'aftershock della no wave". Ondarock.
- ^ Chick, Stevie (2015). "Girl Band review – the last rave before the apocalypse". The Guardian.
- ^ Sánchez Gárate, Miguel Ángel (2015). "Girl Band - Holding Hands With Jamie". Mondosonoro.
- ^ Wright, Danny (2019). "Girl Band - The Talkies". Crack Magazine.
- ^ 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.
- ^ "CAMP SKiN GRAFT: Now Wave". Bandcamp. 1997.
{{cite web}}: CS1 maint: url-status (link) - ^ Margasak, Peter (1995). "Rock 'n' Roll: they're queer, they're here, get into it". Chicago Reader.
- ^ Coley, Byron (1995). "Noisemakers". Chicago Reader.