Post-pank

Post-pank (engl. Post-punk) je muzički pravac koji se razvio iz panka kasnih 1970-ih, kao odgovor na pank rok eksploziju iz sredine iste decenije.

Koreni post-panka su u panku, ali muzika je za razliku od panka više introvertna, kompleksna i eksperimentalna. Post-pank je postavio temelj alternativnoj rok muzici, proširivši granice pank i andergraund muzike uz pomoć elemenata kraut-roka (upotreba sintesajzera i obuhvatnog ponavljanja), daba (pogotovo bas gitare), američkog fanka pa čak i disko muzike, koje tradicionalni pank nikada ne bi dopustio.

Post-pank je 1980-ih zauzeo jako mesto na indi sceni i iz njega su se razvili gotik rok, industrijski rok, alternativni rok i psihobili.

Sam termin „post-pank“ je ušao u upotrebu ranih 1980-ih. Britanski kritičar Grejl Markus je u julu 1980. godine korstio izraz da bi opisao muziku bendova kao što su Gang of Four, The Raincoats i Essential Logic.

Karakteristike

Mnogi post-pank umjetnici su u počeku bili inspirisani pankovom uradi sam etikom i energijom, ali su na kraju postali razočarani stilom i pokretom, osjećajući da je upao u komercijalnu formulu, rok konvenciju, i samoparodiju. They repudiated its populist claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyond punk's focus on the concerns of a largely white, male, working-class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form".

Iako je muzika u velikoj mjeri varirala između umjetnika i regiona, post-pank pokret je okarakterisan kao "konceptualnu napad" na rok konvencije i odbijanje estetike koja se doživljava kao tradicionalistička, hegemonična ili rockist u korist eksperimentisanja sa produkcijskim tehnikama i ne-rok muzičkim stilovima kao što su dab, fank, elektronska muzika, disko, noiz, etno muzika, i avangarda. Some previous musical styles also served as touchstones for the movement, including particular brands of krautrock, glam, art rock, art pop and other music from the 1960s. Artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". According to musicologist Pete Dale, while groups wanted to "rip up history and start again", the music was still "inevitably tied to traces they could never fully escape".

Nicholas Lezard opisao je post-pank kao "fuziju umjetnosti i muzike". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Roxy Music and David Bowie. Reynolds noted a preoccupation among some post-punk artists with issues such as alienation, repression, and technocracy of Western modernity. Among major influences on a variety of post-punk artists were writers William S. Burroughs and J. G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement.

Klasični post-pank sastavi

The Sound, Section 25, Sad Lovers and Giants, The Chameleons, Orange Juice, The Psychedelic Furs, Devo, The Birthday Party, The Fall, Siouxsie and the Banshees, Lords of the New Church, Joy Division, New Order, Killing Joke, Echo & the Bunnymen, The Cure, Bauhaus, Magazine, Wire, The Jesus and Mary Chain, Talking Heads, Tubeway Army, Crass, Television.

Novi talas

Oko 1977. se u Severnoj Americi razvio novi talas koji se uklopio u post-pank. Karakteristika bendova novog talasa jeste da se više usredsređuju na performanse nego na koherentnu strukturu same muzike. Bendovi novog talasa su na primer Teenage Jesus and the Jerks, Glenn Branca, Rhys Chatham, Mars, James Chance and the Contortions, DNA, Bush Tetras, Theoretical Girls, Swans i Sonic Youth.

Post-pank revajvl

Početkom 21. veka se iz britanskog i američkog indi roka razvio post-pank revajvl, muzički pravac koji ima jasne karakteristike post-panka. Ova modernija vrsta post-panka je komercijalno daleko uspešnija od klasične post-pank muzike, sa bendovima kao što su The Strokes, Interpol, The Rapture, The Rakes, The Libertines, Franz Ferdinand, The Killers, Editors i Stroszek.

Vidi još

• Novi val

Literatura

• 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, ур. (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. 
• Gittins, Ian (2004). Talking Heads: Once in a Lifetime : the Stories Behind Every Song. Hal Leonard. ISBN 978-0-634-08033-3. 
• 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. 
• Kootnikoff, David (2010). U2: A Musical Biography. ABC-CLIO. ISBN 978-0-313-36523-2. 
• Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe. Plexus. ISBN 978-0-85965-431-9. 
• 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 978-0-14-303672-2. 
• Reynolds, Simon (2010). Totally Wired: Postpunk Interviews and Overviews. Soft Skull Press. ISBN 978-1593763947. 
• Reynolds, Simon (2013). „Post-Punk's Radical Dance Fictions”. Ур.: 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. 
• Walker, Clinton (1981) Inner City Sound: Punk and Post-Punk in Australia, 1976-1985 Sydney: Wild & Woolley
• Walker, Clinton (1996) Stranded: The Secret History of Australian Independent Music 1977-1991, Sydney: Pan Macmillan. ISBN 0-7329-0883-3
• Wilkinson, David (2016). Post-Punk, Politics and Pleasure in Britain. Springer. ISBN 978-1-137-49780-2.