About Post-Punk
The role of any artist is to observe the world and reflect on it through their own interpretation. It is a great responsibility that the artist owes to this larger truth that emerges from this observation and that binds all things to their life.Post-punk was first described as a movement defined by a sound. It's just a small detail of a larger picture. I would say that it was mostly defined by an attitude, at least at the time. An attitude that set the tone for the musical development of the years to come. The movement emerged primarily and first in the United Kingdom in the late 1970s and early 1980s from punk. It recuperated the desire for Cultural Revolution that punk had started. It was a proud, noisy, and visionary movement, and the attitude played a major part in it. It was, above all, a freedom of expression, which should not be limited to a sound or a genre. Great Britain at the end of the seventies was swelling under this popular fervor, and at the heart of this phenomenon was London. A city that attracted me into its arms, like so many others. In a broader sense, however, Post-Punk can also describe all trends in alternative music of this period that began to distance themselves stylistically from the previously dominant punk, without losing their affinity for and similarity to punk or completely breaking with its tradition.
A characteristic of the genre is the break with traditional rock elements, which is why post-punk is considered experimental and eclectic. It incorporates elements of krautrock, dub, disco, and electronic music (such as synthesizers), among others.
I've seen a lot of great bands that have inspired me. But I also saw soap, and it pushed me to rebel against the system and the big houses that promote it. Music, as an art form, is far more effective than any weapon. I believe in its originality and not in the labels used for convenience. While some critics use the term “post-punk” synonymously with new wave, independent, or dark wave, others differentiate between the poppier new wave of bands like Duran Duran and Visage and the rawer post-punk.
Typical post-punk representatives were or are Blood on the Saddle, Public Image Ltd, Siouxsie and the Banshees, Talking Heads, The Southern Death Cult, Wire, Foetus, DAF, Malaria!, Gang of Four, Joy Division, Bauhaus, The Stranglers, Killing Joke, The Sound, The Chameleons, Magazine, The Birthday Party, Cocteau Twins, The Fall, early U2, The Cure, New Model Army, And Also the Trees, Death in June, and The Sisters of Mercy.
In the early days, the term Goth was not used generically to describe what was going on; it came later. Most bands loved the same things in life: being avant-garde and thinking outside the box. Everything was taken as an open book to be read with relish. The principle was to take the creations as they came without trying to use various marketing concepts. This credo has become the roadmap for self-expression and unrestrained expression, as well as a chance to break through the shackles. It was an opportunity to push music to its extreme limit by adopting a sound and style that knows no borders, and thus define an entire philosophy without compromise. It was to be experienced as a snapshot of an era that would then end up firmly anchored in the collective memory.
We then became truly ALIVE, and those who wanted to keep us away had reason to be afraid. While the term “post-punk” was initially used for British bands, a concurrent movement, primarily centered in New York, was known as “no wave.” This term was a reference to the then commercially successful new wave movement. In terms of content, post-punk and no wave are very similar, although no wave artists often had a stronger connection to the artistic avant-garde and frequently placed greater emphasis on pure performance than was typical in post-punk. James Chance, Lydia Lunch, and Material are considered representatives of this movement.
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