Post-punk

<h2 id="etymology">Etymology</h2>
See also: <a href="/facts/Art_punk/0GueeVlP">Art punk</a> and <a href="/facts/New_wave_music/jw9IYpDh">New wave music</a>
Post-punk is a diverse genre<a class="footnote-ref" id="fnref:5" href="#fn:5">5</a> that emerged from the cultural milieu of <a href="/facts/Punk_rock/voBjpcpS">punk rock</a> in the late 1970s.<a class="footnote-ref" id="fnref:6" href="#fn:6">6</a><a class="footnote-ref" id="fnref:7" href="#fn:7">7</a>[9][10]<a class="footnote-ref" id="fnref:8" href="#fn:8">8</a> Originally called "new musick", the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's <a href="/facts/Garage_rock/oNbm5YdR">garage rock</a> template and into disparate areas.<a class="footnote-ref" id="fnref:9" href="#fn:9">9</a> <a href="/facts/Sounds_(magazine)/4RQDhhny">Sounds</a> writer <a href="/facts/Jon_Savage/BbRfPKlN">Jon Savage</a> already used "post-punk" in early 1978.<a class="footnote-ref" id="fnref:10" href="#fn:10">10</a> <a href="/facts/NME/EAscmwXq">NME</a> writer <a href="/facts/Paul_Morley/o5187VgY">Paul Morley</a> also stated that he had "possibly" invented the term himself.<a class="footnote-ref" id="fnref:11" href="#fn:11">11</a> At the time, there was a feeling of renewed excitement regarding what the word would entail, with Sounds publishing numerous preemptive editorials on new musick.<a class="footnote-ref" id="fnref:12" href="#fn:12">12</a><a class="footnote-ref" id="fnref:13" href="#fn:13">13</a> Towards the end of the decade, some journalists used "<a href="/facts/Art_punk/0GueeVlP">art punk</a>" as a <a href="/facts/Pejorative/UId8vPsx">pejorative</a> for garage rock-derived acts deemed too sophisticated and out of step with <a href="/facts/Punk_ideologies/RwFYVzrm">punk's dogma</a>.<a class="footnote-ref" id="fnref:14" href="#fn:14">14</a><a class="footnote-ref" id="fnref:15" href="#fn:15">15</a> Before the early 1980s, many groups now categorised as "post-punk" were subsumed under the broad umbrella of "<a href="/facts/New_wave_music/jw9IYpDh">new wave</a>", with the terms being deployed interchangeably. "Post-punk" became differentiated from "new wave" after their styles perceptibly narrowed.<a class="footnote-ref" id="fnref:16" href="#fn:16">16</a>
The writer <a href="/facts/Nicholas_Lezard/Huz1ntoe">Nicholas Lezard</a> described the term "post-punk" as "so multifarious that only the broadest use ... is possible".<a class="footnote-ref" id="fnref:17" href="#fn:17">17</a> Subsequent discourse has failed to clarify whether contemporary music journals and fanzines conventionally understood "post-punk" the way that it was discussed in later years.<a class="footnote-ref" id="fnref:18" href="#fn:18">18</a> Music historian <a href="/facts/Clinton_Heylin/QEsIQq7J">Clinton Heylin</a> places the "true starting-point for English post-punk" somewhere between August 1977 and May 1978, with the arrival of guitarist <a href="/facts/John_McKay_(guitarist)/6kNM0sBk">John McKay</a> in <a href="/facts/Siouxsie_and_the_Banshees/JUw1tQ1T">Siouxsie and the Banshees</a> in July 1977, <a href="/facts/Magazine_(band)/S4ju7nvA">Magazine</a>'s first album, <a href="/facts/Wire_(band)/7J0SuEcE">Wire</a>'s new musical direction in 1978 and the formation of <a href="/facts/Public_Image_Ltd/hAQKSqLb">Public Image Ltd</a>.<a class="footnote-ref" id="fnref:19" href="#fn:19">19</a> Music historian <a href="/facts/Simon_Goddard/Y8ayezfc">Simon Goddard</a> wrote that the debut albums of those bands layered the foundations of post-punk.<a class="footnote-ref" id="fnref:20" href="#fn:20">20</a>
<a href="/facts/Simon_Reynolds/Xu4gkpjX">Simon Reynolds</a>' 2005 book <a href="/facts/Rip_It_Up_and_Start_Again/gxJ0czya">Rip It Up and Start Again</a> is widely referenced as post-punk doctrine, although he has stated that the book only covers aspects of post-punk that he had a personal inclination toward.<a class="footnote-ref" id="fnref:21" href="#fn:21">21</a> Wilkinson characterised Reynolds' readings as "apparent revisionism and 'rebranding'".<a class="footnote-ref" id="fnref:22" href="#fn:22">22</a> Author/musician Alex Ogg criticised: "The problem is not with what Reynolds left out of Rip It Up ..., but, paradoxically, that too much was left in".<a class="footnote-ref" id="fnref:23" href="#fn:23">23</a><a class="footnote-ref" id="fnref:24" href="#fn:24">24</a> Ogg suggested that post-punk pertains to a set of artistic sensibilities and approaches rather than any unifying style, and disputed the accuracy of the term's chronological prefix "post", as various groups commonly labelled "post-punk" predate the punk rock movement.<a class="footnote-ref" id="fnref:25" href="#fn:25">25</a> Reynolds defined the post-punk era as occurring roughly between 1978 and 1984.[22] He advocated that post-punk be conceived as "less a genre of music than a space of possibility",<a class="footnote-ref" id="fnref:26" href="#fn:26">26</a> suggesting that "what unites all this activity is a set of open-ended imperatives: innovation; willful oddness; the willful jettisoning of all things precedented or 'rock'n'roll'".[22] <a href="/facts/AllMusic/Hb8cU8Fb">AllMusic</a> employs "post-punk" to denote "a more adventurous and arty form of punk".<a class="footnote-ref" id="fnref:27" href="#fn:27">27</a>
Reynolds asserted that the post-punk period produced significant innovations and music on its own.<a class="footnote-ref" id="fnref:28" href="#fn:28">28</a> Reynolds described the period as "a fair match for the sixties in terms of the sheer amount of great music created, the spirit of adventure and idealism that infused it, and the way that the music seemed inextricably connected to the political and social turbulence of its era".<a class="footnote-ref" id="fnref:29" href="#fn:29">29</a> Nicholas Lezard wrote that the music of the period "was avant-garde, open to any musical possibilities that suggested themselves, united only in the sense that it was very often cerebral, concocted by brainy young men and women interested as much in disturbing the audience, or making them think, as in making a pop song".<a class="footnote-ref" id="fnref:30" href="#fn:30">30</a>

<h2 id="characteristics">Characteristics</h2>
Many post-punk artists were initially inspired by punk's <a href="/facts/DIY_ethic/C2Gf8VJW">DIY ethic</a> and energy,<a class="footnote-ref" id="fnref:31" href="#fn:31">31</a> but ultimately became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, and self-parody.<a class="footnote-ref" id="fnref:32" href="#fn:32">32</a> They repudiated its <a href="/facts/Populist/J0EXt6XK">populist</a> claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences.<a class="footnote-ref" id="fnref:33" href="#fn:33">33</a><a class="footnote-ref" id="fnref:34" href="#fn:34">34</a> Artists moved beyond punk's focus on the concerns of a largely white, male, working-class population<a class="footnote-ref" id="fnref:35" href="#fn:35">35</a> and abandoned its continued reliance on established <a href="/facts/Rock_and_roll/hNDC5KwW">rock and roll</a> tropes, such as three-chord progressions and <a href="/facts/Chuck_Berry/PgK6bJLf">Chuck Berry</a>-based <a href="/facts/Guitar_riff/VgNk7JRt">guitar riffs</a>.<a class="footnote-ref" id="fnref:36" href="#fn:36">36</a> These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form".<a class="footnote-ref" id="fnref:37" href="#fn:37">37</a>
Though the music varied widely between regions and artists, the post-punk movement has been characterised by its "conceptual assault" on rock conventions<a class="footnote-ref" id="fnref:38" href="#fn:38">38</a><a class="footnote-ref" id="fnref:39" href="#fn:39">39</a> and rejection of aesthetics perceived of as <a href="/facts/Appeal_to_tradition/AsRPGBHa">traditionalist</a>,<a class="footnote-ref" id="fnref:40" href="#fn:40">40</a> <a href="/facts/Hegemonic/I2SBWNgu">hegemonic</a><a class="footnote-ref" id="fnref:41" href="#fn:41">41</a> or <a href="/facts/Rockism/6lRQIcko">rockist</a><a class="footnote-ref" id="fnref:42" href="#fn:42">42</a> in favour of experimentation with production techniques and non-rock musical styles such as <a href="/facts/Dub_music/Pb0wQdUK">dub</a>,<a class="footnote-ref" id="fnref:43" href="#fn:43">43</a> <a href="/facts/Funk/NVuzVek1">funk</a>,<a class="footnote-ref" id="fnref:44" href="#fn:44">44</a> <a href="/facts/Electronic_music/zfGNfUvR">electronic music</a>,<a class="footnote-ref" id="fnref:45" href="#fn:45">45</a> <a href="/facts/Disco/BQu4rHxV">disco</a>,<a class="footnote-ref" id="fnref:46" href="#fn:46">46</a> <a href="/facts/Noise_music/zzruNzyI">noise</a>, <a href="/facts/World_music/t30j2f06">world music</a>,<a class="footnote-ref" id="fnref:47" href="#fn:47">47</a> and the <a href="/facts/Avant-garde/6ofnXfo4">avant-garde</a>.<a class="footnote-ref" id="fnref:48" href="#fn:48">48</a><a class="footnote-ref" id="fnref:49" href="#fn:49">49</a><a class="footnote-ref" id="fnref:50" href="#fn:50">50</a> Some previous musical styles also served as touchstones for the movement, including particular brands of <a href="/facts/Krautrock/e5GoRdV6">krautrock</a>,<a class="footnote-ref" id="fnref:51" href="#fn:51">51</a> <a href="/facts/Glam_rock/CBsJxkth">glam</a>, <a href="/facts/Art_rock/naFrxL3T">art rock</a>,<a class="footnote-ref" id="fnref:52" href="#fn:52">52</a> <a href="/facts/Art_pop/CLAUoDBP">art pop</a><a class="footnote-ref" id="fnref:53" href="#fn:53">53</a> and other music from the 1960s.<a class="footnote-ref" id="fnref:54" href="#fn:54">54</a><a class="footnote-ref" id="fnref:55" href="#fn:55">55</a> Artists once again <a href="/facts/Recording_studio_as_an_instrument/9MlGALom">approached the studio as an instrument</a>, using new recording methods and pursuing novel sonic territories.<a class="footnote-ref" id="fnref:56" href="#fn:56">56</a> Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like <a href="/facts/The_Beatles/2syHWLcM">the Beatles</a> and <a href="/facts/Bob_Dylan/WcaUqWBj">Bob Dylan</a> as well as paradigms that defined "<a href="/facts/Progressive_rock/79MRoIU7">rock as progressive</a>, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic".<a class="footnote-ref" id="fnref:57" href="#fn:57">57</a><a class="footnote-ref" id="fnref:58" href="#fn:58">58</a> 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".<a class="footnote-ref" id="fnref:59" href="#fn:59">59</a><a class="footnote-ref" id="fnref:60" href="#fn:60">60</a>
Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, <a href="/facts/Philosophy/zAH5PVD6">philosophy</a>, politics and <a href="/facts/Critical_theory/2R9f1DNe">critical theory</a> into musical and pop cultural contexts.<a class="footnote-ref" id="fnref:61" href="#fn:61">61</a><a class="footnote-ref" id="fnref:62" href="#fn:62">62</a> Artists sought to refuse the common distinction between high and low culture<a class="footnote-ref" id="fnref:63" href="#fn:63">63</a> and returned to the art school tradition found in the work of artists such as <a href="/facts/Roxy_Music/J4MUrFQN">Roxy Music</a> and <a href="/facts/David_Bowie/7nMplAnf">David Bowie</a>.<a class="footnote-ref" id="fnref:64" href="#fn:64">64</a><a class="footnote-ref" id="fnref:65" href="#fn:65">65</a><a class="footnote-ref" id="fnref:66" href="#fn:66">66</a> Reynolds noted a preoccupation among some post-punk artists with issues such as <a href="/facts/Social_alienation/IfTTKJBJ">alienation</a>, <a href="/facts/Social_repression/7Mp3lUwq">repression</a>, and technocracy of Western <a href="/facts/Modernity/kkpjFrpr">modernity</a>.<a class="footnote-ref" id="fnref:67" href="#fn:67">67</a> Among major influences on a variety of post-punk artists were writers <a href="/facts/William_S._Burroughs/h3YPCA0a">William S. Burroughs</a> and <a href="/facts/J._G._Ballard/BMK6v8uQ">J. G. Ballard</a>, <a href="/facts/Radical_politics/3Sffh8xt">avant-garde political scenes</a> such as <a href="/facts/Situationism/fYNjPtKB">Situationism</a> and <a href="/facts/Dada/fNmFKgCT">Dada</a>, and intellectual movements such as <a href="/facts/Postmodernism/aBgbw8QJ">postmodernism</a>.<a class="footnote-ref" id="fnref:68" href="#fn:68">68</a> Many artists viewed their work in explicitly political terms.<a class="footnote-ref" id="fnref:69" href="#fn:69">69</a> Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious <a href="/facts/Subculture/xUYDM25I">subcultures</a>, which played important roles in the production of art, multimedia performances, <a href="/facts/Fanzines/C28Jfe2f">fanzines</a> and <a href="/facts/Independent_label/1NzjGB3c">independent labels</a> related to the music.<a class="footnote-ref" id="fnref:70" href="#fn:70">70</a> Many post-punk artists maintained an <a href="/facts/Anti-corporatism/rvUY4tNU">anti-corporatist</a> approach to recording and instead seized on alternate means of producing and releasing music.<a class="footnote-ref" id="fnref:71" href="#fn:71">71</a> Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement.<a class="footnote-ref" id="fnref:72" href="#fn:72">72</a>
In the mid-1970s, various American groups (some with ties to <a href="/facts/Downtown_Manhattan/bl6eMMHK">Downtown Manhattan</a>'s punk scene, including <a href="/facts/Television_(band)/uaecy4Ak">Television</a> and <a href="/facts/Suicide_(band)/dvddjMw5">Suicide</a>) had begun expanding on the vocabulary of punk music.<a class="footnote-ref" id="fnref:73" href="#fn:73">73</a>

<h2 id="19771979-early-years">1977–1979: early years</h2>
<h3>Background</h3>
Further information: <a href="/facts/Punk_rock/voBjpcpS">Punk rock § 1979–1984: Schism and diversification</a>
During the punk era, a variety of entrepreneurs interested in local punk-influenced music scenes began founding independent record labels, including <a href="/facts/Rough_Trade_Records/Cw3FgAjw">Rough Trade</a> (founded by record shop owner <a href="/facts/Geoff_Travis/ywrGNpaL">Geoff Travis</a>), <a href="/facts/Factory_Records/Es4k6noa">Factory</a> (founded by <a href="/facts/Manchester/2Do01QHs">Manchester</a>-based television personality <a href="/facts/Tony_Wilson/VvyVg4pB">Tony Wilson</a>),<a class="footnote-ref" id="fnref:74" href="#fn:74">74</a> and <a href="/facts/Fast_Product/rHFUyzPG">Fast Product</a> (co-founded by Bob Last and Hilary Morrison).<a class="footnote-ref" id="fnref:75" href="#fn:75">75</a><a class="footnote-ref" id="fnref:76" href="#fn:76">76</a> By 1977, groups began pointedly pursuing methods of releasing music independently, an idea disseminated in particular by <a href="/facts/Buzzcocks/CUdaaryr">Buzzcocks</a>' release of their <a href="/facts/Spiral_Scratch_(EP)/IXYR7NUt">Spiral Scratch</a> EP on their own label as well as the self-released 1977 singles of <a href="/facts/Desperate_Bicycles/a7s4eY7L">Desperate Bicycles</a>.<a class="footnote-ref" id="fnref:77" href="#fn:77">77</a> These <a href="/facts/DIY/C2Gf8VJW">DIY</a> imperatives would help form the production and distribution infrastructure of post-punk and the <a href="/facts/Independent_music/UTY7W2Vw">indie music</a> scene that later blossomed in the mid-1980s.<a class="footnote-ref" id="fnref:78" href="#fn:78">78</a>

<h3>United Kingdom</h3>

As the initial punk movement dwindled, vibrant new scenes began to coalesce out of a variety of bands pursuing experimental sounds and wider conceptual territory in their work.<a class="footnote-ref" id="fnref:79" href="#fn:79">79</a> By late 1977, British acts such as Siouxsie and the Banshees and Wire were experimenting with sounds, lyrics, and aesthetics that differed significantly from their punk contemporaries. Savage described some of these early developments as exploring "harsh urban scrapings", "controlled <a href="/facts/White_noise/wJ0SR21n">white noise</a>" and "massively accented drumming".<a class="footnote-ref" id="fnref:80" href="#fn:80">80</a> In November 1977 Siouxsie and the Banshees' first <a href="/facts/John_Peel_Session/AQ7yYTXU">John Peel Session</a> for <a href="/facts/BBC_radio_1/1RD7Cc9U">BBC radio 1</a> marked the transition to post-punk when they premiered "Metal Postcard" with space in the sound and serrated guitars,<a class="footnote-ref" id="fnref:81" href="#fn:81">81</a> creating a music being "cold, machine-like and passionate at the same time".<a class="footnote-ref" id="fnref:82" href="#fn:82">82</a> <a href="/facts/Mojo_(magazine)/e6jQ6HPB">Mojo</a> editor Pat Gilbert said, "The first truly post-punk band were Siouxsie and the Banshees", noting the influence of the band's use of repetition on <a href="/facts/Joy_Division/qkISeV1m">Joy Division</a>.<a class="footnote-ref" id="fnref:83" href="#fn:83">83</a> <a href="/facts/John_Robb_(musician)/kCUU4BAK">John Robb</a> similarly argued that the first Banshees gig was "proto post-punk", comparing the rhythm section Public Image Ltd's <a href="/facts/Metal_Box/SpWC2kMe">Metal Box</a>, which would be released three years later.<a class="footnote-ref" id="fnref:84" href="#fn:84">84</a> 
In January 1978, singer <a href="/facts/John_Lydon/uXwhX5w6">John Lydon</a> (then known as Johnny Rotten) announced the break-up of his pioneering punk band the <a href="/facts/Sex_Pistols/WeRGWmBA">Sex Pistols</a>, citing his disillusionment with punk's musical predictability and cooption by commercial interests, as well as his desire to explore more diverse territory.<a class="footnote-ref" id="fnref:85" href="#fn:85">85</a> In May, Lydon formed the group <a href="/facts/Public_Image_Ltd/hAQKSqLb">Public Image Ltd</a><a class="footnote-ref" id="fnref:86" href="#fn:86">86</a> with guitarist <a href="/facts/Keith_Levene/rCYBXqVf">Keith Levene</a> and bassist <a href="/facts/Jah_Wobble/IdGc6sSB">Jah Wobble</a>, the latter who declared "rock is obsolete" after citing <a href="/facts/Reggae/JC95IvF6">reggae</a> as a "natural influence".<a class="footnote-ref" id="fnref:87" href="#fn:87">87</a> However, Lydon described his new sound as "total pop with deep meanings. But I don't want to be categorised in any other term but punk! That's where I come from and that's where I'm staying."<a class="footnote-ref" id="fnref:88" href="#fn:88">88</a>
Around this time, acts such as Public Image Ltd, <a href="/facts/The_Pop_Group/oB9eHt6q">the Pop Group</a> and <a href="/facts/The_Slits/wNcX1cKt">the Slits</a> had begun experimenting with dance music, dub production techniques and the avant-garde,<a class="footnote-ref" id="fnref:89" href="#fn:89">89</a> while punk-indebted Manchester acts such as Joy Division, <a href="/facts/The_Fall_(band)/8YuJpHYx">the Fall</a>, <a href="/facts/The_Durutti_Column/vBRI9aAa">the Durutti Column</a> and <a href="/facts/A_Certain_Ratio/B7zRobPu">A Certain Ratio</a> developed unique styles that drew on a similarly disparate range of influences across music and modernist art.<a class="footnote-ref" id="fnref:90" href="#fn:90">90</a> Bands such as <a href="/facts/Scritti_Politti/KjLTnyjV">Scritti Politti</a>, <a href="/facts/Gang_of_Four_(band)/K6bEN873">Gang of Four</a>, <a href="/facts/Essential_Logic/6bR674fu">Essential Logic</a> and <a href="/facts/This_Heat/LLmjfyur">This Heat</a> incorporated <a href="/facts/Leftist/JUcz1kvS">leftist</a> political philosophy and their own <a href="/facts/Art_school/M6I4bxmM">art school</a> studies in their work.<a class="footnote-ref" id="fnref:91" href="#fn:91">91</a> The unorthodox studio production techniques devised by producers such as <a href="/facts/Steve_Lillywhite/VB1DQnVe">Steve Lillywhite</a>,<a class="footnote-ref" id="fnref:92" href="#fn:92">92</a> <a href="/facts/Martin_Hannett/xo7c8Ejp">Martin Hannett</a>, and <a href="/facts/Dennis_Bovell/1qRr4jL9">Dennis Bovell</a> became important element of the emerging music. Labels such as Rough Trade and Factory would become important hubs for these groups and help facilitate releases, artwork, performances, and promotion.<a class="footnote-ref" id="fnref:93" href="#fn:93">93</a>
Credit for the first post-punk record is disputed, but strong contenders include the debuts of Magazine ("<a href="/facts/Shot_by_Both_Sides/aD8gqySs">Shot by Both Sides</a>", January 1978), Siouxsie and the Banshees ("<a href="/facts/Hong_Kong_Garden_(song)/wL7dfHyC">Hong Kong Garden</a>", August 1978), Public Image Ltd ("<a href="/facts/Public_Image_(song)/Iaa1wXTQ">Public Image</a>", October 1978), Cabaret Voltaire (<a href="/facts/Extended_Play_(Cabaret_Voltaire_EP)/a4fLYsB2">Extended Play</a>, November 1978) and Gang of Four ("<a href="/facts/Damaged_Goods_(song)/nnw6uDSK">Damaged Goods</a>", December 1978).<a class="footnote-ref" id="fnref:94" href="#fn:94">94</a><a class="footnote-ref" id="fnref:95" href="#fn:95">95</a> John Robb suggested <a href="/facts/The_Stranglers/4qXSX9r1">The Stranglers</a>' third LP <a href="/facts/Black_and_White_(The_Stranglers_album)/cB1l8xYt">Black and White</a> (May 1978) may be the first post-punk album.<a class="footnote-ref" id="fnref:96" href="#fn:96">96</a>
A variety of groups that predated punk, such as <a href="/facts/Cabaret_Voltaire_(band)/CVuKPnNI">Cabaret Voltaire</a> and <a href="/facts/Throbbing_Gristle/xzr0t5yF">Throbbing Gristle</a>, experimented with <a href="/facts/Tape_machine/fWXgHUwY">tape machines</a> and electronic instruments in tandem with <a href="/facts/Performance_art/lzGqnHpR">performance art</a> methods and influence from <a href="/facts/Transgressive_literature/YdY7pBRm">transgressive literature</a>, ultimately helping to pioneer <a href="/facts/Industrial_music/Ua77gRPB">industrial music</a>.<a class="footnote-ref" id="fnref:97" href="#fn:97">97</a> Throbbing Gristle's independent label <a href="/facts/Industrial_Records/jNH1jk3N">Industrial Records</a> would become a hub for this scene and provide it with its namesake. A pioneering <a href="/facts/Australian_punk/c6QMEM02">punk scene in Australia</a> during the mid-1970s also fostered influential post-punk acts like <a href="/facts/The_Birthday_Party_(band)/gfBrUnjy">The Birthday Party</a>, who eventually relocated to the UK to join its burgeoning music scene.<a class="footnote-ref" id="fnref:98" href="#fn:98">98</a>
As these scenes began to develop, British music publications such as <a href="/facts/NME/EAscmwXq">NME</a> and Sounds developed an influential part in the nascent post-punk culture, with writers like Savage, <a href="/facts/Paul_Morley/o5187VgY">Paul Morley</a> and <a href="/facts/Ian_Penman/oPMt7T5l">Ian Penman</a> developing a dense (and often playful) style of criticism that drew on philosophy, radical politics and an eclectic variety of other sources. In 1978, UK magazine Sounds celebrated albums such as Siouxsie and the Banshees' <a href="/facts/The_Scream_(album)/6EwMbWEj">The Scream</a>, Wire's <a href="/facts/Chairs_Missing/YSdPYDlD">Chairs Missing</a>, and American band <a href="/facts/Pere_Ubu/8g6Wq4Wl">Pere Ubu</a>'s <a href="/facts/Dub_Housing/oXApGITy">Dub Housing</a>.<a class="footnote-ref" id="fnref:99" href="#fn:99">99</a> In 1979, NME championed records such as PiL's <a href="/facts/Metal_Box/SpWC2kMe">Metal Box</a>, Joy Division's <a href="/facts/Unknown_Pleasures/KsvbyGfF">Unknown Pleasures</a>, Gang of Four's <a href="/facts/Entertainment!/BtetN0h4">Entertainment!</a>, Wire's <a href="/facts/154_(album)/JHl5ecRL">154</a>, <a href="/facts/The_Raincoats/SRslwbkv">the Raincoats</a>' <a href="/facts/The_Raincoats_(album)/aqcGPRrS">self-titled debut</a>, and American group <a href="/facts/Talking_Heads/crAFIjpD">Talking Heads</a>' album <a href="/facts/Fear_of_Music/ATb5RpIt">Fear of Music</a>.<a class="footnote-ref" id="fnref:100" href="#fn:100">100</a>
Siouxsie and the Banshees, Joy Division, <a href="/facts/Bauhaus_(band)/WksRa121">Bauhaus</a> and <a href="/facts/The_Cure/tcAR3Ss3">the Cure</a> were examples of post-punk bands who shifted to dark overtones in their music, which would later spawn the <a href="/facts/Gothic_rock/djfBWS80">gothic rock</a> scene in the early 1980s.<a class="footnote-ref" id="fnref:101" href="#fn:101">101</a><a class="footnote-ref" id="fnref:102" href="#fn:102">102</a> Members of Siouxsie and the Banshees and the Cure worked on records and toured together regularly until 1984. <a href="/facts/Neo-psychedelia/SlNIBGBa">Neo-psychedelia</a> grew out of the British post-punk scene in the late 1970s.<a class="footnote-ref" id="fnref:103" href="#fn:103">103</a> The genre later flourished into a more widespread and international movement of artists who applied the spirit of <a href="/facts/Psychedelic_rock/gI1vhFHj">psychedelic rock</a> to new sounds and techniques.<a class="footnote-ref" id="fnref:104" href="#fn:104">104</a> Other styles such as <a href="/facts/Avant-funk/voJlgqd1">avant-funk</a> and industrial dub also emerged around 1979.<a class="footnote-ref" id="fnref:105" href="#fn:105">105</a><a class="footnote-ref" id="fnref:106" href="#fn:106">106</a>

<h3>United States</h3>
See also: <a href="/facts/No_wave/hVx1elGF">No wave</a>

<a href="/facts/Midwestern/VanHjkw2">Midwestern</a> groups such as <a href="/facts/Pere_Ubu/8g6Wq4Wl">Pere Ubu</a> and <a href="/facts/Devo/QdWy4u9x">Devo</a> drew inspiration from the region's derelict <a href="/facts/Industrial_region/TDjLMWKt">industrial environments</a>, employing conceptual art techniques, <a href="/facts/Musique_concr%25C3%25A8te/NkJW91oM">musique concrète</a> and unconventional verbal styles that would presage the post-punk movement by several years.<a class="footnote-ref" id="fnref:107" href="#fn:107">107</a>
A variety of subsequent groups, including the <a href="/facts/Boston/exjfn6xf">Boston</a>-based <a href="/facts/Mission_of_Burma/et3QfSn9">Mission of Burma</a> and the New York-based Talking Heads, combined elements of punk with art school sensibilities.<a class="footnote-ref" id="fnref:108" href="#fn:108">108</a> In 1978, the latter band began <a href="/facts/Talking_Heads/crAFIjpD">a series of collaborations</a> with British <a href="/facts/Ambient_music/QNnE3krK">ambient</a> pioneer and ex-<a href="/facts/Roxy_Music/J4MUrFQN">Roxy Music</a> member <a href="/facts/Brian_Eno/rMN10pwo">Brian Eno</a>, experimenting with <a href="/facts/Dada/fNmFKgCT">Dadaist</a> lyrical techniques, electronic sounds, and <a href="/facts/Polyrhythms/l9mf37ah">African polyrhythms</a>.<a class="footnote-ref" id="fnref:109" href="#fn:109">109</a> <a href="/facts/San_Francisco/cb9l7hbC">San Francisco</a>'s vibrant post-punk scene was centered on such groups as <a href="/facts/Chrome_(band)/lKsUeHQk">Chrome</a>, <a href="/facts/The_Residents/TN4Xe53k">the Residents</a>, <a href="/facts/Tuxedomoon/5DxrCrht">Tuxedomoon</a> and <a href="/facts/MX-80/Wq1RG9QF">MX-80</a>, whose influences extended to multimedia experimentation, <a href="/facts/Cabaret/n0fKcALB">cabaret</a> and the <a href="/facts/Dramaturgy/JetC8xM4">dramatic theory</a> of <a href="/facts/Antonin_Artaud/LfdE0H7t">Antonin Artaud</a>'s <a href="/facts/Theater_of_Cruelty/jpYknqRG">Theater of Cruelty</a>.<a class="footnote-ref" id="fnref:110" href="#fn:110">110</a>

Also emerging during this period was downtown New York's <a href="/facts/No_wave/hVx1elGF">no wave</a> movement, as well as a short-lived <a href="/facts/Avant-garde_art/6ofnXfo4">art</a> and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes, often reflecting an abrasive and <a href="/facts/Nihilism/qETgtSKu">nihilistic</a> worldview.<a class="footnote-ref" id="fnref:111" href="#fn:111">111</a><a class="footnote-ref" id="fnref:112" href="#fn:112">112</a> No wave musicians such as <a href="/facts/The_Contortions/9M3Uuarv">The Contortions</a>, <a href="/facts/Teenage_Jesus_and_the_Jerks/J5oJ1sAW">Teenage Jesus and the Jerks</a>, <a href="/facts/Mars_(band)/zPo23bG8">Mars</a>, <a href="/facts/DNA_(American_band)/dpaXS4sU">DNA</a>, <a href="/facts/Theoretical_Girls/WSGdWDVv">Theoretical Girls</a>, and <a href="/facts/Rhys_Chatham/UeUr3jLs">Rhys Chatham</a> instead experimented with noise, <a href="/facts/Dissonance_(music)/RfQJwFFF">dissonance</a> and <a href="/facts/Atonality/LToI29Xu">atonality</a> in addition to non-rock styles.<a class="footnote-ref" id="fnref:113" href="#fn:113">113</a> The former four groups were included on the Eno-produced <a href="/facts/No_New_York/HYBfhGp2">No New York</a> compilation (1978), often considered the quintessential testament to the scene.<a class="footnote-ref" id="fnref:114" href="#fn:114">114</a> The decadent parties and art installations of venues such as <a href="/facts/Club_57_(nightclub)/7bkcfI9K">Club 57</a> and the <a href="/facts/Mudd_Club/mwJ4Qyo2">Mudd Club</a> would become cultural hubs for musicians and visual artists alike, with figures such as <a href="/facts/Jean-Michel_Basquiat/Pm4E86Hc">Jean-Michel Basquiat</a>, <a href="/facts/Keith_Haring/0UmfgQXY">Keith Haring</a> and <a href="/facts/Michael_Holman_(filmmaker)/Ha37tca9">Michael Holman</a> frequenting the scene.<a class="footnote-ref" id="fnref:115" href="#fn:115">115</a> According to <a href="/facts/Village_Voice/YM7tnkrN">Village Voice</a> writer Steve Anderson, the scene pursued an abrasive reductionism that "undermined the power and mystique of a rock vanguard by depriving it of a tradition to react against".<a class="footnote-ref" id="fnref:116" href="#fn:116">116</a> Anderson claimed that the no wave scene represented "New York's last stylistically cohesive avant-rock movement".<a class="footnote-ref" id="fnref:117" href="#fn:117">117</a> 
<h2 id="19801984-further-developments">1980–1984: further developments</h2>
<h3>UK scene and commercial ambitions</h3>
See also: <a href="/facts/New_pop/hB65TgDk">new pop</a>
British post-punk entered the 1980s with support from members of the critical community—American critic <a href="/facts/Greil_Marcus/IQcF5IKw">Greil Marcus</a> characterised "Britain's postpunk pop avant-garde" in a 1980 <a href="/facts/Rolling_Stone/HhCFoJ9F">Rolling Stone</a> article as "sparked by a tension, humour and sense of paradox plainly unique in present-day pop music"<a class="footnote-ref" id="fnref:118" href="#fn:118">118</a>—as well as media figures such as <a href="/facts/BBC/qFateIz8">BBC</a> DJ <a href="/facts/John_Peel/AQ7yYTXU">John Peel</a>, while several groups, such as PiL and Joy Division, achieved some success in the popular charts.<a class="footnote-ref" id="fnref:119" href="#fn:119">119</a> The network of supportive <a href="/facts/Record_label/rcrpGvM4">record labels</a> that included <a href="/facts/Y_Records/FRSgwel8">Y Records</a>, Industrial, Fast, <a href="/facts/E.G._Records/YJYWVVdD">E.G.</a>, <a href="/facts/Mute_Records/0jlQseFY">Mute</a>, <a href="/facts/4AD/UF54Shjd">Axis/4AD</a>, and <a href="/facts/Glass_Records/gRGBV0DU">Glass</a> continued to facilitate a large output of music. By 1980–1981, many British acts, including <a href="/facts/Maximum_Joy/PbbLWB76">Maximum Joy</a>, Magazine, Essential Logic, <a href="/facts/Killing_Joke/6IDdenWR">Killing Joke</a>, <a href="/facts/The_Sound_(band)/bFHUPSt6">the Sound</a>, <a href="/facts/23_Skidoo_(band)/Kt1XGJSs">23 Skidoo</a>, <a href="/facts/Alternative_TV/wdBUT3fs">Alternative TV</a>, <a href="/facts/The_Teardrop_Explodes/2MP6V23I">the Teardrop Explodes</a>, <a href="/facts/The_Psychedelic_Furs/WNWN5n8b">the Psychedelic Furs</a>, <a href="/facts/Echo_%2526_the_Bunnymen/BBQ2Ws3X">Echo & the Bunnymen</a> and <a href="/facts/The_Membranes/wDVsbhue">the Membranes</a> also became part of these fledgling post-punk scenes, which centered on cities such as <a href="/facts/London/KozCCsy9">London</a> and Manchester.<a class="footnote-ref" id="fnref:120" href="#fn:120">120</a>
However, during this period, major figures and artists in the scene began leaning away from underground aesthetics. In the music press, the increasingly esoteric writing of post-punk publications soon began to alienate their readerships; it is estimated that within several years, NME suffered the loss of half its circulation. Writers like Paul Morley began advocating "overground brightness" instead of the experimental sensibilities promoted in the early years.<a class="footnote-ref" id="fnref:121" href="#fn:121">121</a> Morley's own musical collaboration with engineer <a href="/facts/Gary_Langan/o7SFP8Dx">Gary Langan</a> and programmer <a href="/facts/J._J._Jeczalik/5sobYv8h">J. J. Jeczalik</a>, <a href="/facts/The_Art_of_Noise/I4D2nh1D">the Art of Noise</a>, would attempt to bring <a href="/facts/Musical_sample/QLXy5WbA">sampled</a> and electronic sounds to the pop mainstream.<a class="footnote-ref" id="fnref:122" href="#fn:122">122</a> Post-punk artists such as Scritti Politti's <a href="/facts/Green_Gartside/ndlwSpER">Green Gartside</a> and <a href="/facts/Josef_K_(band)/YKxxyKIQ">Josef K</a>'s <a href="/facts/Paul_Haig/seYDdKnn">Paul Haig</a>, previously engaged in avant-garde practices, turned away from these approaches and pursued mainstream styles and commercial success.<a class="footnote-ref" id="fnref:123" href="#fn:123">123</a> These new developments, in which post-punk artists attempted to bring subversive ideas into the pop mainstream, began to be categorised under the marketing term <a href="/facts/New_pop/hB65TgDk">new pop</a>.<a class="footnote-ref" id="fnref:124" href="#fn:124">124</a>

Several more pop-oriented groups, including <a href="/facts/ABC_(band)/vL0xNR7l">ABC</a>, <a href="/facts/The_Associates_(band)/byVh6W5x">the Associates</a>, <a href="/facts/Adam_and_the_Ants/b2VrA066">Adam and the Ants</a> and <a href="/facts/Bow_Wow_Wow/CYLa59x4">Bow Wow Wow</a> (the latter two managed by former Sex Pistols manager <a href="/facts/Malcolm_McLaren/bJDj0j9f">Malcolm McLaren</a>) emerged in tandem with the development of the <a href="/facts/New_Romantic/kCfg3alo">New Romantic</a> subcultural scene.<a class="footnote-ref" id="fnref:125" href="#fn:125">125</a> Emphasizing glamour, fashion and escapism in distinction to the experimental seriousness of earlier post-punk groups, the club-oriented scene drew some suspicion from denizens of the movement but also achieved commercial success. Artists such as <a href="/facts/Gary_Numan/w7XWpqwh">Gary Numan</a>, <a href="/facts/Depeche_Mode/HYrMb9Q4">Depeche Mode</a>, <a href="/facts/The_Human_League/YwVoRdFE">the Human League</a>, <a href="/facts/Soft_Cell/6PtUVpFX">Soft Cell</a>, <a href="/facts/John_Foxx/fKIKzI91">John Foxx</a> and <a href="/facts/Visage_(band)/HGSMRAXQ">Visage</a> helped pioneer a new <a href="/facts/Synthpop/ejVwqcNb">synthpop</a> style that drew more heavily from electronic and synthesizer music and benefited from the rise of <a href="/facts/MTV/S5gxqCxh">MTV</a>.<a class="footnote-ref" id="fnref:126" href="#fn:126">126</a>

<h3>Downtown Manhattan</h3>

In the early 1980s, Downtown Manhattan's no wave scene transitioned from its abrasive origins into a more dance-oriented sound, with compilations such as <a href="/facts/ZE_Records/7otV3Cj8">ZE Records</a>' <a href="/facts/Mutant_Disco/7otV3Cj8">Mutant Disco</a> (1981) highlighting a newly playful sensibility borne out of the city's clash of <a href="/facts/Hip_hop/7HjAPIEh">hip hop</a>, disco and punk styles, as well as dub reggae and world music influences.<a class="footnote-ref" id="fnref:127" href="#fn:127">127</a> Artists such as <a href="/facts/ESG_(band)/QMFuhb6x">ESG</a>, <a href="/facts/Liquid_Liquid/IMTvVD35">Liquid Liquid</a>, <a href="/facts/The_B-52s/dfyThVhv">The B-52s</a>, <a href="/facts/Cristina_(singer)/lXmeagQm">Cristina</a>, <a href="/facts/Arthur_Russell_(musician)/2xQIzuh5">Arthur Russell</a>, <a href="/facts/James_White_and_the_Blacks/HPrMpMPm">James White and the Blacks</a>, and <a href="/facts/Lizzy_Mercier_Descloux/YI3uajnz">Lizzy Mercier Descloux</a> pursued a formula described by <a href="/facts/Lucy_Sante/fb9HyfdA">Lucy Sante</a> as "anything at all + disco bottom".<a class="footnote-ref" id="fnref:128" href="#fn:128">128</a> Other no wave-indebted artists such as <a href="/facts/Swans_(band)/Es1DQkjd">Swans</a>, <a href="/facts/Rhys_Chatham/UeUr3jLs">Rhys Chatham</a>, <a href="/facts/Glenn_Branca/Y5uQNPNE">Glenn Branca</a>, <a href="/facts/Lydia_Lunch/qBexPngt">Lydia Lunch</a>, <a href="/facts/The_Lounge_Lizards/qdxqDJy5">the Lounge Lizards</a>, <a href="/facts/Bush_Tetras/eW4Dq4mk">Bush Tetras</a>, and <a href="/facts/Sonic_Youth/KcpJeQ3H">Sonic Youth</a> instead continued exploring the early scene's forays into <a href="/facts/Noise_music/zzruNzyI">noise music</a>'s abrasive territory.<a class="footnote-ref" id="fnref:129" href="#fn:129">129</a>

<h2 id="mid-1980s1990s-decline">Mid-1980s–1990s: decline</h2>
The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, often in favour of more commercial sounds. Many of these groups would continue recording as part of the <a href="/facts/New_pop/hB65TgDk">new pop</a> movement, with <a href="/facts/Entryism/HDPICDlY">entryism</a> becoming a popular concept.<a class="footnote-ref" id="fnref:130" href="#fn:130">130</a> In the United States, driven by <a href="/facts/MTV/S5gxqCxh">MTV</a> and modern rock radio stations, a number of post-punk acts had an influence on or became part of the <a href="/facts/Second_British_Invasion/xYHnaPWt">Second British Invasion</a> of "<a href="/facts/New_Music_(music_industry)/hB65TgDk">New Music</a>" there.<a class="footnote-ref" id="fnref:131" href="#fn:131">131</a><a class="footnote-ref" id="fnref:132" href="#fn:132">132</a> Some shifted to a more commercial new wave sound (such as Gang of Four),<a class="footnote-ref" id="fnref:133" href="#fn:133">133</a><a class="footnote-ref" id="fnref:134" href="#fn:134">134</a> while others were fixtures on American <a href="/facts/Campus_radio/3wBqTwXI">college radio</a> and became early examples of <a href="/facts/Alternative_rock/7xRALNsG">alternative rock</a>, such as <a href="/facts/R.E.M./vshQTmmg">R.E.M.</a> One band to emerge from post-punk was <a href="/facts/U2/4nxeFIy8">U2</a>,<a class="footnote-ref" id="fnref:135" href="#fn:135">135</a> which infused elements of religious imagery and political commentary into its often anthemic music.
Online database <a href="/facts/AllMusic/Hb8cU8Fb">AllMusic</a> noted that late '80s bands such as <a href="/facts/Big_Flame_(band)/TGFFeI4e">Big Flame</a>, <a href="/facts/World_Domination_Enterprises/5nmWLFAn">World Domination Enterprises</a>, and <a href="/facts/Minimal_Compact/KcgFj6Br">Minimal Compact</a> appeared to be extensions of post-punk.<a class="footnote-ref" id="fnref:136" href="#fn:136">136</a>
Some notable bands that recalled the original era during the 1990s included <a href="/facts/Six_Finger_Satellite/VqbCwQp7">Six Finger Satellite</a>, <a href="/facts/Brainiac_(band)/sg7xn1aj">Brainiac</a>, and <a href="/facts/Elastica/vmYrHS8D">Elastica</a>.<a class="footnote-ref" id="fnref:137" href="#fn:137">137</a>

<h2 id="later-developments">Later developments</h2>
<h3>2000s: revival</h3>
Main article: <a href="/facts/Post-punk_revival/cmVGhdBK">Post-punk revival</a>
<a href="/facts/The_Strokes/364Ho6QM">The Strokes</a> debut album <a href="/facts/Is_This_It/Lq07Mf57">Is this It</a> spearheaded what became known as the New York <a href="/facts/Post-punk_revival/cmVGhdBK">post-punk revival</a>. Which lead to an explosion of bands such as the <a href="/facts/Yeah_Yeah_Yeahs/ljFLGDtg">Yeah Yeah Yeahs</a>, <a href="/facts/LCD_Soundsystem/BnbQjYnj">LCD Soundsystem</a>, <a href="/facts/The_Rapture_(band)/G5T7vVH3">the Rapture</a>, <a href="/facts/Interpol_(band)/8MPxgLuH">Interpol</a>, <a href="/facts/Liars_(band)/AKbWL0ty">Liars</a>, <a href="/facts/The_Rogers_Sisters/VEUNDdmS">the Rogers Sisters</a>, <a href="/facts/The_Fiery_Furnaces/zcw551n2">the Fiery Furnaces</a>, <a href="/facts/Radio_4_(band)/j6gVyVvv">Radio 4</a> and <a href="/facts/!!!/GWFtJ3jq">!!!</a>.<a class="footnote-ref" id="fnref:138" href="#fn:138">138</a> Following this a new group of bands that played a stripped down and back-to-basics version of guitar rock emerged into the mainstream,<a class="footnote-ref" id="fnref:139" href="#fn:139">139</a> such as the UKs <a href="/facts/Franz_Ferdinand_(band)/amdk1pal">Franz Ferdinand</a>, <a href="/facts/The_Futureheads/B7P1vvUQ">the Futureheads</a> and <a href="/facts/Max%25C3%25AFmo_Park/CXHLLvXF">Maxïmo Park</a>.<a class="footnote-ref" id="fnref:140" href="#fn:140">140</a> These bands were variously characterised as part of a <a href="/facts/Post-punk_revival/cmVGhdBK">post-punk revival</a>/<a href="/facts/New_wave_music/jw9IYpDh">new wave</a> revival.<a class="footnote-ref" id="fnref:141" href="#fn:141">141</a><a class="footnote-ref" id="fnref:142" href="#fn:142">142</a><a class="footnote-ref" id="fnref:143" href="#fn:143">143</a><a class="footnote-ref" id="fnref:144" href="#fn:144">144</a> Their music ranged from the atonal tracks of bands like <a href="/facts/Liars_(band)/AKbWL0ty">Liars</a> to the melodic pop songs of groups like <a href="/facts/The_Sounds/odeFy98f">The Sounds</a>.<a class="footnote-ref" id="fnref:145" href="#fn:145">145</a> They shared an emphasis on energetic live performance and used aesthetics (in hair and clothes) closely aligned with their fans,<a class="footnote-ref" id="fnref:146" href="#fn:146">146</a> often drawing on fashion of the 1950s and 1960s,<a class="footnote-ref" id="fnref:147" href="#fn:147">147</a> with "skinny ties, white belts [and] shag haircuts".<a class="footnote-ref" id="fnref:148" href="#fn:148">148</a> There was an emphasis on "rock authenticity" that was seen as a reaction to the commercialism of MTV-oriented <a href="/facts/Nu_metal/7vNyq9rB">nu metal</a>, <a href="/facts/Hip_hop_music/0lsHpwAD">hip hop</a><a class="footnote-ref" id="fnref:149" href="#fn:149">149</a> and "bland" <a href="/facts/Post-Britpop/Fvw3fAjF">post-Britpop</a> groups.<a class="footnote-ref" id="fnref:150" href="#fn:150">150</a> Because the bands came from countries around the world, cited diverse influences and adopted differing styles of dress, their unity as a genre has been disputed. By the end of the decade, many of the bands of the movement had broken up, were on hiatus, or had moved on to other musical areas, and very few were making significant impact on the charts.<a class="footnote-ref" id="fnref:151" href="#fn:151">151</a><a class="footnote-ref" id="fnref:152" href="#fn:152">152</a><a class="footnote-ref" id="fnref:153" href="#fn:153">153</a>

<h3>2010s–2020s</h3>
<a href="/facts/Far_Out_(website)/zBh5hhDL">Far Out magazine</a> claimed a 2010s revival of the genre as having "claws firmly in the past, with many of the original post-punk bands such as The Fall and Bauhaus hailed as gods".<a class="footnote-ref" id="fnref:154" href="#fn:154">154</a> Referring to bands such as Denmark's <a href="/facts/Iceage/LxhfE29t">Iceage</a>, England's <a href="/facts/Eagulls/mfTrqaBj">Eagulls</a>, <a href="/facts/Savages_(band)/ezleXzxk">Savages</a> and <a href="/facts/Sleaford_Mods/Bb1IXHuf">Sleaford Mods</a>, Canada's <a href="/facts/Ought_(band)/28KHjTDI">Ought</a> and <a href="/facts/Preoccupations/C15c0IgL">Preoccupations</a>, and America's <a href="/facts/Protomartyr_(band)/rWUoMyyQ">Protomartyr</a> and <a href="/facts/Parquet_Courts/eYB2KGVW">Parquet Courts</a>.<a class="footnote-ref" id="fnref:155" href="#fn:155">155</a> Further stating "This was the perfect time for post-punk to return, against a backdrop of hideous geopolitical happenings such as the financial crash of 2008, the ascendence of <a href="/facts/Donald_Trump/pqqKY21P">Donald Trump</a> and the <a href="/facts/Brexit/M80B3fIg">Brexit</a> vote."<a class="footnote-ref" id="fnref:156" href="#fn:156">156</a>

<h4>Revival in the UK and Ireland</h4>
During the late 2010s and early 2020s, a new wave of UK and Irish post-punk bands gained popularity. Terms such as "crank wave" and "post-Brexit new wave" have been used to describe these bands.<a class="footnote-ref" id="fnref:157" href="#fn:157">157</a><a class="footnote-ref" id="fnref:158" href="#fn:158">158</a><a class="footnote-ref" id="fnref:159" href="#fn:159">159</a> The bands <a href="/facts/Black_Country%2c_New_Road/38AJ8EbE">Black Country, New Road</a>, <a href="/facts/Squid_(band)/spJvrW0m">Squid</a>, <a href="/facts/Dry_Cleaning_(band)/oXnyj2lW">Dry Cleaning</a>, <a href="/facts/Shame_(band)/ThTA1nsP">Shame</a>, <a href="/facts/Sleaford_Mods/Bb1IXHuf">Sleaford Mods</a>, and <a href="/facts/Yard_Act/rp6FIKm5">Yard Act</a> all had albums that charted in the top ten in the UK, while <a href="/facts/Idles/qaz9Dth2">Idles</a>' <a href="/facts/Ultra_Mono/XncxdRf4">Ultra Mono</a>,<a class="footnote-ref" id="fnref:160" href="#fn:160">160</a> <a href="/facts/Fontaines_D.C./2Q7wCm1j">Fontaines D.C.</a>'s <a href="/facts/Skinty_Fia/dzFPa8dE">Skinty Fia</a><a class="footnote-ref" id="fnref:161" href="#fn:161">161</a> and <a href="/facts/Wet_Leg/EaYj7qvA">Wet Leg</a>'s <a href="/facts/Wet_Leg_(album)/ex6lLzEy">self-titled debut</a> all reached number one on the UK album charts.<a class="footnote-ref" id="fnref:162" href="#fn:162">162</a> This scene is rooted in experimental post-punk and often features vocalists who "tend to talk more than they sing, reciting lyrics in an alternately disaffected or tightly wound voice", and "sometimes it's more like <a href="/facts/Post-rock/LUKX5EeN">post-rock</a>".<a class="footnote-ref" id="fnref:163" href="#fn:163">163</a> Several of these bands, including Black Country, New Road, <a href="/facts/Black_Midi/IzD4MbXn">Black Midi</a> and Squid, began their careers by playing at <a href="/facts/The_Windmill%2c_Brixton/4cbBxedh">The Windmill</a>, an all-ages music venue in <a href="/facts/London/KozCCsy9">London</a>'s <a href="/facts/Brixton/QkxoGAwS">Brixton</a> neighbourhood. Many of them have also worked with producer <a href="/facts/Dan_Carey_(record_producer)/CRo1RbXU">Dan Carey</a> and have released music on his DIY label Speedy Wunderground.<a class="footnote-ref" id="fnref:164" href="#fn:164">164</a>

<h2 id="list-of-bands">List of bands</h2>
Main article: <a href="/facts/List_of_post-punk_bands/JyeWLmhf">List of post-punk bands</a>
<h2 id="notes">Notes</h2>

<h2 id="citations">Citations</h2>

<h2 id="bibliography">Bibliography</h2>

<ul><li>Bannister, Matthew (2007). <a href="https://books.google.com/books?id=4ckLKGTXRwQC&pg=PA38">White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock</a>. Ashgate Publishing, Ltd. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-7546-8803-7. <a href="https://web.archive.org/web/20231009030001/https://books.google.com/books?id=4ckLKGTXRwQC&pg=PA38#v=onepage&q&f=false">Archived</a> from the original on 9 October 2023. Retrieved 22 April 2016.</li>
<li><a href="/facts/Vladimir_Bogdanov_(editor)/HXeJ50Ud">Bogdanov, Vladimir</a>; Woodstra, Chris; <a href="/facts/Stephen_Thomas_Erlewine/7HnXs404">Erlewine, Stephen Thomas</a>, eds. (2002). <a href="https://books.google.com/books?id=1-pH4i3jXvAC">All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul</a>. Backbeat Books. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-87930-653-3. <a href="https://web.archive.org/web/20231009030133/https://books.google.com/books?id=1-pH4i3jXvAC">Archived</a> from the original on 9 October 2023. Retrieved 15 March 2017.</li>
<li>Cateforis, Theo (2011). <a href="https://books.google.com/books?id=-MVrM3zKrHQC">Are We Not New Wave: Modern Pop at the Turn of the 1980s</a>. <a href="/facts/University_of_Michigan_Press/vdfn8W3b">University of Michigan Press</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-472-03470-3.</li>
<li>Cavanagh, David (2015). <a href="https://books.google.com/books?id=gxmLCgAAQBAJ&pg=PT193">Good Night and Good Riddance: How Thirty-Five Years of John Peel Helped to Shape Modern Life</a>. Faber & Faber. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-571-30248-2.</li>
<li>Cieślak, Magdalena; Rasmus, Agnieszka (2012). Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance. Newcastle upon Tyne: Cambridge Scholars Publishing. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-4438-3773-6.</li>
<li>Dale, Pete (2016). <a href="https://books.google.com/books?id=1UYHDAAAQBAJ&pg=PA153">Anyone Can Do It: Empowerment, Tradition and the Punk Underground</a>. Routledge. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-317-18025-8.</li>
<li>Gittins, Ian (2004). <a href="https://books.google.com/books?id=ZvhoZyTzspYC&pg=PA5">Talking Heads: Once in a Lifetime: the Stories Behind Every Song</a>. Hal Leonard. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-634-08033-3.</li>
<li>Greene, Doyle (2014). The Rock Cover Song: Culture, History, Politics. <a href="/facts/McFarland_%2526_Company/UGcW6D1h">McFarland & Company</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-7864-7809-5.</li>
<li>Foege, Alec (October 1994). <a href="https://books.google.com/books?id=sw6GE_5XTz4C&q=New+York%27s+last+stylistically+cohesive+avant-rock+movement">Confusion Is Next: The Sonic Youth Story</a>. Macmillan. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-3121-1369-8. <a href="https://web.archive.org/web/20210414153100/https://books.google.com/books?id=sw6GE_5XTz4C&q=New+York%27s+last+stylistically+cohesive+avant-rock+movement">Archived</a> from the original on 14 April 2021. Retrieved 25 October 2020.</li>
<li>Goddard, Simon (2010). <a href="https://archive.org/details/mozipediaencyclo00godd_0">Mozipedia: The Encyclopedia of Morrissey and the Smiths [Sioux, Siouxsie entry]</a>. Ebury Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0452296671.</li>
<li><a href="/facts/Clinton_Heylin/QEsIQq7J">Heylin, Clinton</a> (2008). Babylon's Burning: From Punk to Grunge. <a href="/facts/Penguin_Books/Q2ETlwbp">Penguin Books</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-14-102431-8.</li>
<li>Hoffman, F. W.; Ferstler, H. (2004). Encyclopedia of Recorded Sound, Volume 1 (2nd ed.). New York: CRC Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-415-93835-X.</li>
<li>Kootnikoff, David (2010). <a href="https://books.google.com/books?id=9tw9vnZT4REC&pg=PA30">U2: A Musical Biography</a>. ABC-CLIO. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-313-36523-2.</li>
<li><a href="/facts/Paul_Lester/AnbYGVvB">Lester, Paul</a> (2009). <a href="https://books.google.com/books?id=Q8zNYQmaiZwC&pg=PT83">Gang of Four: Damaged Gods</a>. Omnibus Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-85712-020-5.</li>
<li>Marcus, Greil (1994). <a href="https://books.google.com/books?id=linaAAAAMAAJ">Ranters & Crowd Pleasers</a>. Anchor Books. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-38541-721-1. <a href="https://web.archive.org/web/20231009030003/https://books.google.com/books?id=linaAAAAMAAJ">Archived</a> from the original on 9 October 2023. Retrieved 19 October 2020.</li>
<li>Masters, Marc (2008). No Wave. <a href="/facts/New_York_City/YlyvFmVC">New York City</a>: Black Dog Publishing. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-906155-02-5.</li>
<li>Palacios, Julian (2010). <a href="https://books.google.com/books?id=DvgH58uEPFAC&pg=PA418">Syd Barrett & Pink Floyd: Dark Globe</a>. Plexus. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-85965-431-9. <a href="https://web.archive.org/web/20231009030041/https://books.google.com/books?id=DvgH58uEPFAC&pg=PA418#v=onepage&q&f=false">Archived</a> from the original on 9 October 2023. Retrieved 19 October 2016.</li>
<li><a href="/facts/Simon_Reynolds/Xu4gkpjX">Reynolds, Simon</a> (1996). <a href="https://archive.org/details/sexrevoltsgender00reyn">The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll</a>. Harvard University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0674802735.</li>
<li><a href="/facts/Simon_Reynolds/Xu4gkpjX">Reynolds, Simon</a> (2005). <a href="/facts/Rip_It_Up_and_Start_Again%3a_Postpunk_1978%25E2%2580%25931984/gxJ0czya">Rip It Up and Start Again: Postpunk 1978–1984</a>. London: <a href="/facts/Faber_and_Faber/CPvre283">Faber and Faber</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-14-303672-2.</li>
<li><a href="/facts/Simon_Reynolds/Xu4gkpjX">Reynolds, Simon</a> (2009). Totally Wired: Postpunk Interviews and Overviews. Faber and Faber. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0571235490.</li>
<li><a href="/facts/Simon_Reynolds/Xu4gkpjX">Reynolds, Simon</a> (2013). <a href="https://books.google.com/books?id=F7o5Wj9-EGYC&pg=PA210">"Post-Punk's Radical Dance Fictions"</a>. In Cateforis, Theo (ed.). The Rock History Reader. Routledge. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-415-89212-4.</li>
<li>Rojek, Chris (2013). Pop Music, Pop Culture. Polity Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-74564263-5.</li>
<li>Taylor, Steven (2003). <a href="https://books.google.com/books?id=K1Eh5xbEw7EC">False Prophet: Field Notes from the Punk Underground</a>. Wesleyan University Press. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-8195-6668-3.</li>
<li>Wilkinson, David (2016). <a href="https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8">Post-Punk, Politics and Pleasure in Britain</a>. Springer. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1-137-49780-2.</li>
<li>Young, Rob (2006). Rough Trade. Black Dog Publishing. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 1-904772-47-1.</li></ul>

<h2 id="further-reading">Further reading</h2>
<ul><li><a href="/facts/Byron_Coley/Woz6jKUK">Byron Coley</a> and <a href="/facts/Thurston_Moore/epcC3mHK">Thurston Moore</a>, (2008) No Wave: Post-Punk. Underground. New York 1976–1980, Abrams</li>
<li>McNeil, Legs; McCain, Gillian (1997). Please Kill Me: The Uncensored Oral History of Punk. London: Little, Brown Book Group. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-349-10880-3.</li>
<li><a href="/facts/Simon_Reynolds/Xu4gkpjX">Reynolds, Simon</a> (2010). Totally Wired: Postpunk Interviews and Overviews. <a href="/facts/Soft_Skull_Press/plY0vRj0">Soft Skull Press</a>. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-1593763947.</li>
<li><a href="/facts/Clinton_Walker/ugHRcqlc">Walker, Clinton</a> (1982) Inner City Sound: Punk and Post-Punk in Australia, 1976-1985 Sydney: Wild & Woolley. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 978-0-9093-3148-1</li>
<li><a href="/facts/Clinton_Walker/ugHRcqlc">Walker, Clinton</a> (1996) <a href="/facts/Stranded%3a_The_Secret_History_of_Australian_Independent_Music_1977%25E2%2580%25931991/Y2Y4tI5K">Stranded: The Secret History of Australian Independent Music 1977-1991</a>, Sydney: Pan Macmillan. <a href="/facts/ISBN_(identifier)/15AdSPa9">ISBN</a> 0-7329-0883-3</li></ul>
<h2 id="external-links">External links</h2>

Wikimedia Commons has media related to Post-punk.

<ul><li><a href="https://www.allmusic.com/style/post-punk-ma0000004450">Post-punk</a> at <a href="/facts/AllMusic/Hb8cU8Fb">AllMusic</a></li>
<li><a href="http://www.headheritage.co.uk/unsung/albumofthemonth/2068">Post-punk essay and sampler</a> by <a href="/facts/Julian_Cope/89IC1s6V">Julian Cope</a></li></ul>

<h2 id="references">References</h2>

<ol>
<li id="fn:1">Cateforis 2011, pp. 26–27. - 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. <a href="https://books.google.com/books?id=-MVrM3zKrHQC" target="_blank">https://books.google.com/books?id=-MVrM3zKrHQC</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></li>
<li id="fn:2">Reynolds, Simon (April 2005). "It Came From London: A Virtual Tour of Post-Punk's Roots". Time Out London. Archived from the original on 29 October 2019. Retrieved 29 March 2017. <a href="http://www.furious.com/perfect/simonreynolds32.html" target="_blank">http://www.furious.com/perfect/simonreynolds32.html</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></li>
<li id="fn:3">Reynolds 2005, p. xxxi. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:3" class="footnote-back-ref">↩</a></li>
<li id="fn:4">For verification of these groups as part of the original post-punk vanguard see Heylin 2008, Siouxsie & the Banshees, Magazine and PiL, Wire; Reynolds 2013, p. 210, "... the 'post-punk vanguard'—overtly political groups like Gang of Four, Au Pairs, Pop Group ..."; Kootnikoff 2010, p. 30, "[Post-punk] bands like Joy Division, Gang of Four, and the Fall were hugely influential"; Cavanagh 2015, pp. 192–193, Gang of Four, Cabaret Voltaire, The Cure, PiL, Throbbing Gristle, Joy Division; Bogdanov, Woodstra & Erlewine 2002, p. 1337, Pere Ubu, Talking Heads; Cateforis 2011, p. 26, Devo, Throbbing Gristle, Siouxsie and the Banshees, the Slits, Wire - Heylin, Clinton (2008). Babylon's Burning: From Punk to Grunge. Penguin Books. ISBN 978-0-14-102431-8. <a href="#fnref:4" class="footnote-back-ref">↩</a></li>
<li id="fn:5">Lezard, Nicholas (22 April 2005). "Fans for the memory". The Guardian (Book review: Simon Reynolds, Rip it Up and Start Again: Post-Pink 1978–1984). Archived from the original on 26 January 2021. Retrieved 21 March 2016. <a href="https://www.theguardian.com/books/2005/apr/23/highereducation.news" target="_blank">https://www.theguardian.com/books/2005/apr/23/highereducation.news</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></li>
<li id="fn:6">Ogg, Alex (October 2009). "Beyond Rip It Up: Towards A New Definition of Post Punk?". The Quietus. Archived from the original on 9 October 2023. Retrieved 20 February 2016. <a href="http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk" target="_blank">http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk</a> <a href="#fnref:6" class="footnote-back-ref">↩</a></li>
<li id="fn:7">"Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. <a href="https://www.allmusic.com/style/post-punk-ma0000004450" target="_blank">https://www.allmusic.com/style/post-punk-ma0000004450</a> <a href="#fnref:7" class="footnote-back-ref">↩</a></li>
<li id="fn:8">Punk rock, whose criteria and categorisation fluctuated throughout the early 1970s, was a crystallised genre by 1976 or 1977.[11] <a href="#fnref:8" class="footnote-back-ref">↩</a></li>
<li id="fn:9">Cateforis 2011, pp. 26–27. - 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. <a href="https://books.google.com/books?id=-MVrM3zKrHQC" target="_blank">https://books.google.com/books?id=-MVrM3zKrHQC</a> <a href="#fnref:9" class="footnote-back-ref">↩</a></li>
<li id="fn:10">Savage, Jon (18 February 1978). "Power Pop part 2: The C&A Generation in the Land of the Bland". Sounds. Rock's Backpages. Archived from the original on 1 January 2018. Retrieved 1 December 2017.(subscription required) <a href="/wiki/Jon_Savage" target="_blank">/wiki/Jon_Savage</a> <a href="#fnref:10" class="footnote-back-ref">↩</a></li>
<li id="fn:11">"Big Gold Dream - Music Outside of London". Vimeo. Archived from the original on 6 August 2020. Retrieved 3 June 2018. <a href="https://vimeo.com/273086417" target="_blank">https://vimeo.com/273086417</a> <a href="#fnref:11" class="footnote-back-ref">↩</a></li>
<li id="fn:12">Wilkinson 2016, p. 1. - Wilkinson, David (2016). Post-Punk, Politics and Pleasure in Britain. Springer. ISBN 978-1-137-49780-2. <a href="https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8" target="_blank">https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8</a> <a href="#fnref:12" class="footnote-back-ref">↩</a></li>
<li id="fn:13">According to critic Simon Reynolds, Savage introduced "new musick", which may refer to the more science-fiction and industrial sides of post-punk.[10] <a href="/wiki/Simon_Reynolds" target="_blank">/wiki/Simon_Reynolds</a> <a href="#fnref:13" class="footnote-back-ref">↩</a></li>
<li id="fn:14">Gittins 2004, p. 5. - Gittins, Ian (2004). Talking Heads: Once in a Lifetime: the Stories Behind Every Song. Hal Leonard. ISBN 978-0-634-08033-3.Young, Rob (2006). Rough Trade. Black Dog Publishing. ISBN 1-904772-47-1. <a href="https://books.google.com/books?id=ZvhoZyTzspYC&pg=PA5" target="_blank">https://books.google.com/books?id=ZvhoZyTzspYC&pg=PA5</a> <a href="#fnref:14" class="footnote-back-ref">↩</a></li>
<li id="fn:15">In rock music of the era, "art" carried connotations that meant "aggressively avant-garde" or "pretentiously progressive".[16] Additionally, there were concerns over the authenticity of such bands.[15] <a href="#fnref:15" class="footnote-back-ref">↩</a></li>
<li id="fn:16">Jackson, Josh (8 September 2016). "The 50 Best New Wave Albums". Paste. Archived from the original on 1 October 2017. Retrieved 24 January 2017. <a href="https://www.pastemagazine.com/articles/2016/09/the-best-new-wave-albums.html" target="_blank">https://www.pastemagazine.com/articles/2016/09/the-best-new-wave-albums.html</a> <a href="#fnref:16" class="footnote-back-ref">↩</a></li>
<li id="fn:17">Lezard, Nicholas (22 April 2005). "Fans for the memory". The Guardian (Book review: Simon Reynolds, Rip it Up and Start Again: Post-Pink 1978–1984). Archived from the original on 26 January 2021. Retrieved 21 March 2016. <a href="https://www.theguardian.com/books/2005/apr/23/highereducation.news" target="_blank">https://www.theguardian.com/books/2005/apr/23/highereducation.news</a> <a href="#fnref:17" class="footnote-back-ref">↩</a></li>
<li id="fn:18">Wilkinson 2016, p. 8. - Wilkinson, David (2016). Post-Punk, Politics and Pleasure in Britain. Springer. ISBN 978-1-137-49780-2. <a href="https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8" target="_blank">https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8</a> <a href="#fnref:18" class="footnote-back-ref">↩</a></li>
<li id="fn:19">Heylin 2008, p. 460. - Heylin, Clinton (2008). Babylon's Burning: From Punk to Grunge. Penguin Books. ISBN 978-0-14-102431-8. <a href="#fnref:19" class="footnote-back-ref">↩</a></li>
<li id="fn:20">Goddard 2010, p. 393: "Produced by Steve Lillywhite, [The Scream] arrived between Magazine's Real Life and Public Image Ltd's Public Image as the second in that year's triptych of albums layering the foundations of post-punk." - Goddard, Simon (2010). Mozipedia: The Encyclopedia of Morrissey and the Smiths [Sioux, Siouxsie entry]. Ebury Press. ISBN 978-0452296671. <a href="https://archive.org/details/mozipediaencyclo00godd_0" target="_blank">https://archive.org/details/mozipediaencyclo00godd_0</a> <a href="#fnref:20" class="footnote-back-ref">↩</a></li>
<li id="fn:21">Ogg, Alex (October 2009). "Beyond Rip It Up: Towards A New Definition of Post Punk?". The Quietus. Archived from the original on 9 October 2023. Retrieved 20 February 2016. <a href="http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk" target="_blank">http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk</a> <a href="#fnref:21" class="footnote-back-ref">↩</a></li>
<li id="fn:22">Wilkinson 2016, p. 8. - Wilkinson, David (2016). Post-Punk, Politics and Pleasure in Britain. Springer. ISBN 978-1-137-49780-2. <a href="https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8" target="_blank">https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8</a> <a href="#fnref:22" class="footnote-back-ref">↩</a></li>
<li id="fn:23">Ogg, Alex (October 2009). "Beyond Rip It Up: Towards A New Definition of Post Punk?". The Quietus. Archived from the original on 9 October 2023. Retrieved 20 February 2016. <a href="http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk" target="_blank">http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk</a> <a href="#fnref:23" class="footnote-back-ref">↩</a></li>
<li id="fn:24">Ogg expressed concern regarding the attribution of "post-punk" to groups who came before the Sex Pistols,[7] themselves credited as the principal catalysts of punk.[21] He also noted several underheralded post-punk influences, including Discharge, XTC, UB40, the cow-punk scene, tape trading circles and the "unfashionable" portions of goth.[7] <a href="/wiki/Sex_Pistols" target="_blank">/wiki/Sex_Pistols</a> <a href="#fnref:24" class="footnote-back-ref">↩</a></li>
<li id="fn:25">Ogg, Alex (October 2009). "Beyond Rip It Up: Towards A New Definition of Post Punk?". The Quietus. Archived from the original on 9 October 2023. Retrieved 20 February 2016. <a href="http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk" target="_blank">http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk</a> <a href="#fnref:25" class="footnote-back-ref">↩</a></li>
<li id="fn:26">Ogg, Alex (October 2009). "Beyond Rip It Up: Towards A New Definition of Post Punk?". The Quietus. Archived from the original on 9 October 2023. Retrieved 20 February 2016. <a href="http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk" target="_blank">http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk</a> <a href="#fnref:26" class="footnote-back-ref">↩</a></li>
<li id="fn:27">"Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. <a href="https://www.allmusic.com/style/post-punk-ma0000004450" target="_blank">https://www.allmusic.com/style/post-punk-ma0000004450</a> <a href="#fnref:27" class="footnote-back-ref">↩</a></li>
<li id="fn:28">Kitty Empire (17 April 2005). "Never mind the Sex Pistols". The Guardian (Book review: Simon Reynolds, Rip It Up And Start Again: Post-Punk 1978–1984). Archived from the original on 26 January 2021. Retrieved 17 February 2016. <a href="https://www.theguardian.com/theobserver/2005/apr/17/music" target="_blank">https://www.theguardian.com/theobserver/2005/apr/17/music</a> <a href="#fnref:28" class="footnote-back-ref">↩</a></li>
<li id="fn:29">Reynolds 1996, p. xi. - Reynolds, Simon (1996). The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll. Harvard University Press. ISBN 978-0674802735. <a href="https://archive.org/details/sexrevoltsgender00reyn" target="_blank">https://archive.org/details/sexrevoltsgender00reyn</a> <a href="#fnref:29" class="footnote-back-ref">↩</a></li>
<li id="fn:30">Lezard, Nicholas (22 April 2005). "Fans for the memory". The Guardian (Book review: Simon Reynolds, Rip it Up and Start Again: Post-Pink 1978–1984). Archived from the original on 26 January 2021. Retrieved 21 March 2016. <a href="https://www.theguardian.com/books/2005/apr/23/highereducation.news" target="_blank">https://www.theguardian.com/books/2005/apr/23/highereducation.news</a> <a href="#fnref:30" class="footnote-back-ref">↩</a></li>
<li id="fn:31">"Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. <a href="https://www.allmusic.com/style/post-punk-ma0000004450" target="_blank">https://www.allmusic.com/style/post-punk-ma0000004450</a> <a href="#fnref:31" class="footnote-back-ref">↩</a></li>
<li id="fn:32">Reynolds 2005, p. 1. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:32" class="footnote-back-ref">↩</a></li>
<li id="fn:33">Reynolds 2005, p. 1953, On one side were the populist 'real punks' ... who believed that the music needed to stay accessible and unpretentious, to continue to fill its role as the angry voice of the streets.On the other side was the vanguard that came to be known as postpunk, who saw 1977 not as a return to raw rock 'n' roll but as a chance to make a break with tradition.. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:33" class="footnote-back-ref">↩</a></li>
<li id="fn:34">"Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. <a href="https://www.allmusic.com/style/post-punk-ma0000004450" target="_blank">https://www.allmusic.com/style/post-punk-ma0000004450</a> <a href="#fnref:34" class="footnote-back-ref">↩</a></li>
<li id="fn:35">Rojek 2013, p. 28. - Rojek, Chris (2013). Pop Music, Pop Culture. Polity Press. ISBN 978-0-74564263-5. <a href="#fnref:35" class="footnote-back-ref">↩</a></li>
<li id="fn:36">Reynolds 2005, p. 1954. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:36" class="footnote-back-ref">↩</a></li>
<li id="fn:37">Reynolds 2005, pp. 1, 3. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:37" class="footnote-back-ref">↩</a></li>
<li id="fn:38">Kitty Empire (17 April 2005). "Never mind the Sex Pistols". The Guardian (Book review: Simon Reynolds, Rip It Up And Start Again: Post-Punk 1978–1984). Archived from the original on 26 January 2021. Retrieved 17 February 2016. <a href="https://www.theguardian.com/theobserver/2005/apr/17/music" target="_blank">https://www.theguardian.com/theobserver/2005/apr/17/music</a> <a href="#fnref:38" class="footnote-back-ref">↩</a></li>
<li id="fn:39">Lezard, Nicholas (22 April 2005). "Fans for the memory". The Guardian (Book review: Simon Reynolds, Rip it Up and Start Again: Post-Pink 1978–1984). Archived from the original on 26 January 2021. Retrieved 21 March 2016. <a href="https://www.theguardian.com/books/2005/apr/23/highereducation.news" target="_blank">https://www.theguardian.com/books/2005/apr/23/highereducation.news</a> <a href="#fnref:39" class="footnote-back-ref">↩</a></li>
<li id="fn:40">Ogg, Alex (October 2009). "Beyond Rip It Up: Towards A New Definition of Post Punk?". The Quietus. Archived from the original on 9 October 2023. Retrieved 20 February 2016. <a href="http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk" target="_blank">http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk</a> <a href="#fnref:40" class="footnote-back-ref">↩</a></li>
<li id="fn:41">Kitty Empire (17 April 2005). "Never mind the Sex Pistols". The Guardian (Book review: Simon Reynolds, Rip It Up And Start Again: Post-Punk 1978–1984). Archived from the original on 26 January 2021. Retrieved 17 February 2016. <a href="https://www.theguardian.com/theobserver/2005/apr/17/music" target="_blank">https://www.theguardian.com/theobserver/2005/apr/17/music</a> <a href="#fnref:41" class="footnote-back-ref">↩</a></li>
<li id="fn:42">Stanley, Bob (14 July 2014). Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé. W. W. Norton & Co. <a href="#fnref:42" class="footnote-back-ref">↩</a></li>
<li id="fn:43">Cieślak & Rasmus 2012. - Cieślak, Magdalena; Rasmus, Agnieszka (2012). Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance. Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN 978-1-4438-3773-6. <a href="#fnref:43" class="footnote-back-ref">↩</a></li>
<li id="fn:44">Reynolds 2005, p. 3, 261. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:44" class="footnote-back-ref">↩</a></li>
<li id="fn:45">Cieślak & Rasmus 2012. - Cieślak, Magdalena; Rasmus, Agnieszka (2012). Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance. Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN 978-1-4438-3773-6. <a href="#fnref:45" class="footnote-back-ref">↩</a></li>
<li id="fn:46">Cieślak & Rasmus 2012, p. 31, 32. - Cieślak, Magdalena; Rasmus, Agnieszka (2012). Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance. Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN 978-1-4438-3773-6. <a href="#fnref:46" class="footnote-back-ref">↩</a></li>
<li id="fn:47">"Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. <a href="https://www.allmusic.com/style/post-punk-ma0000004450" target="_blank">https://www.allmusic.com/style/post-punk-ma0000004450</a> <a href="#fnref:47" class="footnote-back-ref">↩</a></li>
<li id="fn:48">"Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. <a href="https://www.allmusic.com/style/post-punk-ma0000004450" target="_blank">https://www.allmusic.com/style/post-punk-ma0000004450</a> <a href="#fnref:48" class="footnote-back-ref">↩</a></li>
<li id="fn:49">Rojek 2013, p. 28. - Rojek, Chris (2013). Pop Music, Pop Culture. Polity Press. ISBN 978-0-74564263-5. <a href="#fnref:49" class="footnote-back-ref">↩</a></li>
<li id="fn:50">Reynolds 2005, p. 1953, "They dedicated themselves to fulfilling punk's uncompleted musical revolution, exploring new possibilities by embracing electronics, noise, jazz, and the classical avant-garde.". - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:50" class="footnote-back-ref">↩</a></li>
<li id="fn:51">Reynolds, Simon (July 1996a). "Krautrock". Melody Maker. Archived from the original on 25 April 2017. Retrieved 1 February 2017. <a href="/wiki/Simon_Reynolds" target="_blank">/wiki/Simon_Reynolds</a> <a href="#fnref:51" class="footnote-back-ref">↩</a></li>
<li id="fn:52">Reynolds 2005, p. xi-xii. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:52" class="footnote-back-ref">↩</a></li>
<li id="fn:53">Fisher, Mark. "You Remind Me of Gold: Dialogue with Simon Reynolds". Kaleidoscope. Issue 9, 2010. <a href="#fnref:53" class="footnote-back-ref">↩</a></li>
<li id="fn:54">Palacios 2010, p. 418. - Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe. Plexus. ISBN 978-0-85965-431-9. Archived from the original on 9 October 2023. Retrieved 19 October 2016. <a href="https://books.google.com/books?id=DvgH58uEPFAC&pg=PA418" target="_blank">https://books.google.com/books?id=DvgH58uEPFAC&pg=PA418</a> <a href="#fnref:54" class="footnote-back-ref">↩</a></li>
<li id="fn:55">Biographer Julián Palacios specifically pointed to the era's "dark undercurrent", citing examples such as Pink Floyd's Syd Barrett, The Velvet Underground, Nico, The Doors, The Monks, The Godz, The 13th Floor Elevators and Love.[38] Music critic Carl Wilson added The Beach Boys' leader Brian Wilson (no relation), writing that elements of his music and legends "became a touchstone ... for the artier branches of post-punk".[39] <a href="/wiki/Pink_Floyd" target="_blank">/wiki/Pink_Floyd</a> <a href="#fnref:55" class="footnote-back-ref">↩</a></li>
<li id="fn:56">Reynolds 2005, p. 7. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:56" class="footnote-back-ref">↩</a></li>
<li id="fn:57">Bannister 2007, pp. 36–37. - Bannister, Matthew (2007). White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Ashgate Publishing, Ltd. ISBN 978-0-7546-8803-7. Archived from the original on 9 October 2023. Retrieved 22 April 2016. <a href="https://books.google.com/books?id=4ckLKGTXRwQC&pg=PA38" target="_blank">https://books.google.com/books?id=4ckLKGTXRwQC&pg=PA38</a> <a href="#fnref:57" class="footnote-back-ref">↩</a></li>
<li id="fn:58">Guardian Music journalist Sean O'Hagan described post-punk as a "rebuttal" to the optimism of the 1960s personified by the Beatles,[42] while author Doyle Green viewed it as an emergence of a kind of "progressive punk" music.[43] <a href="/wiki/The_Guardian" target="_blank">/wiki/The_Guardian</a> <a href="#fnref:58" class="footnote-back-ref">↩</a></li>
<li id="fn:59">Dale 2016, p. 153. - Dale, Pete (2016). Anyone Can Do It: Empowerment, Tradition and the Punk Underground. Routledge. ISBN 978-1-317-18025-8. <a href="https://books.google.com/books?id=1UYHDAAAQBAJ&pg=PA153" target="_blank">https://books.google.com/books?id=1UYHDAAAQBAJ&pg=PA153</a> <a href="#fnref:59" class="footnote-back-ref">↩</a></li>
<li id="fn:60">An example he gave was Orange Juice's "Rip It Up" (1983), "a fairly basic pastiche of light-funk and r'n'b crooning; with a slightly different production style, it could certainly have fitted comfortably into the charts a decade before it was actually written and recorded".[44] <a href="/wiki/Orange_Juice_(band)" target="_blank">/wiki/Orange_Juice_(band)</a> <a href="#fnref:60" class="footnote-back-ref">↩</a></li>
<li id="fn:61">Kitty Empire (17 April 2005). "Never mind the Sex Pistols". The Guardian (Book review: Simon Reynolds, Rip It Up And Start Again: Post-Punk 1978–1984). Archived from the original on 26 January 2021. Retrieved 17 February 2016. <a href="https://www.theguardian.com/theobserver/2005/apr/17/music" target="_blank">https://www.theguardian.com/theobserver/2005/apr/17/music</a> <a href="#fnref:61" class="footnote-back-ref">↩</a></li>
<li id="fn:62">Reynolds 2005, p. 1954, "Those postpunk years from 1978 to 1984 saw the systematic ransacking of twentieth century modernist art and literature ...". - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:62" class="footnote-back-ref">↩</a></li>
<li id="fn:63">Anindya Bhattacharyya. "Simon Reynolds interview: Pop, politics, hip-hop and postpunk" Archived 14 September 2016 at the Wayback Machine. Socialist Worker. Issue 2053, May 2007. <a href="https://socialistworker.co.uk/art/11487/Simon+Reynolds+interview%3A+Pop,+politics,+hip-hop+and+postpunk" target="_blank">https://socialistworker.co.uk/art/11487/Simon+Reynolds+interview%3A+Pop,+politics,+hip-hop+and+postpunk</a> <a href="#fnref:63" class="footnote-back-ref">↩</a></li>
<li id="fn:64">Reynolds 2005, p. 3≠. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:64" class="footnote-back-ref">↩</a></li>
<li id="fn:65">Rojek 2013, p. 28. - Rojek, Chris (2013). Pop Music, Pop Culture. Polity Press. ISBN 978-0-74564263-5. <a href="#fnref:65" class="footnote-back-ref">↩</a></li>
<li id="fn:66">Fisher, Mark. "You Remind Me of Gold: Dialogue with Simon Reynolds". Kaleidoscope. Issue 9, 2010. <a href="#fnref:66" class="footnote-back-ref">↩</a></li>
<li id="fn:67">Reynolds, Simon (13 February 1987). "End of the Track". New Statesman. Archived from the original on 25 October 2019. Retrieved 5 March 2017. <a href="http://reynoldsretro.blogspot.com/2013/05/end-of-track-albums-round-up-column-new.html" target="_blank">http://reynoldsretro.blogspot.com/2013/05/end-of-track-albums-round-up-column-new.html</a> <a href="#fnref:67" class="footnote-back-ref">↩</a></li>
<li id="fn:68">Reynolds 2005, p. xxxi. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:68" class="footnote-back-ref">↩</a></li>
<li id="fn:69">Reynolds 2005, p. xi. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:69" class="footnote-back-ref">↩</a></li>
<li id="fn:70">Reynolds 2005, p. 1962, "Beyond the musicians, there was a whole cadre of catalysts and culture warriors, enablers and ideologues who started labels, managed bands, became innovative producers, published fanzines, ran hipster record stores, promoted gigs and organised festivals.". - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:70" class="footnote-back-ref">↩</a></li>
<li id="fn:71">Lezard, Nicholas (22 April 2005). "Fans for the memory". The Guardian (Book review: Simon Reynolds, Rip it Up and Start Again: Post-Pink 1978–1984). Archived from the original on 26 January 2021. Retrieved 21 March 2016. <a href="https://www.theguardian.com/books/2005/apr/23/highereducation.news" target="_blank">https://www.theguardian.com/books/2005/apr/23/highereducation.news</a> <a href="#fnref:71" class="footnote-back-ref">↩</a></li>
<li id="fn:72">Reynolds 2005, p. 19. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:72" class="footnote-back-ref">↩</a></li>
<li id="fn:73">Reynolds 2005, pp. 140, 142–43. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:73" class="footnote-back-ref">↩</a></li>
<li id="fn:74">Reynolds 2005, pp. 27, 30. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:74" class="footnote-back-ref">↩</a></li>
<li id="fn:75">Simpson, Dave (9 February 2016). "Cult heroes: Bob Last – subversive Scottish post-punk label creator". The Guardian. Archived from the original on 23 October 2018. Retrieved 3 June 2018. <a href="https://www.theguardian.com/music/musicblog/2016/feb/09/cult-heroes-bob-last-subversive-scottish-post-punk-label-creator" target="_blank">https://www.theguardian.com/music/musicblog/2016/feb/09/cult-heroes-bob-last-subversive-scottish-post-punk-label-creator</a> <a href="#fnref:75" class="footnote-back-ref">↩</a></li>
<li id="fn:76">Dingwall, John (12 June 2015). "How tiny Scots label Fast blazed a trail for celebrated Indies such as Postcard". Daily Record. Archived from the original on 2 May 2018. Retrieved 3 June 2018. <a href="https://www.dailyrecord.co.uk/entertainment/celebrity-interviews/how-tiny-scots-label-fast-5866643" target="_blank">https://www.dailyrecord.co.uk/entertainment/celebrity-interviews/how-tiny-scots-label-fast-5866643</a> <a href="#fnref:76" class="footnote-back-ref">↩</a></li>
<li id="fn:77">Reynolds 2005, pp. 26, 31. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:77" class="footnote-back-ref">↩</a></li>
<li id="fn:78">Reynolds 2005, pp. 27–28, 34. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:78" class="footnote-back-ref">↩</a></li>
<li id="fn:79">Reynolds 2005, pp. 3. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:79" class="footnote-back-ref">↩</a></li>
<li id="fn:80">Cateforis 2011, p. 26. - 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. <a href="https://books.google.com/books?id=-MVrM3zKrHQC" target="_blank">https://books.google.com/books?id=-MVrM3zKrHQC</a> <a href="#fnref:80" class="footnote-back-ref">↩</a></li>
<li id="fn:81">Stubbs, David (July 2009). "Siouxsie and the Banshees At the BBC [review]". Uncut. the very first group to make the transition from punk's stage invasion to the more developed theatre of post-punk. You can hear it in the 1977 Peel sessions here, on "Metal Postcard (Mittageisen)" - the space in the sound, the serrated guitars. <a href="/wiki/Uncut_(magazine)" target="_blank">/wiki/Uncut_(magazine)</a> <a href="#fnref:81" class="footnote-back-ref">↩</a></li>
<li id="fn:82">Goldman, Vivien (3 December 1977). "New Music – Siouxsie Sioux Who R U?". Sounds. <a href="/wiki/Sounds_(magazine)" target="_blank">/wiki/Sounds_(magazine)</a> <a href="#fnref:82" class="footnote-back-ref">↩</a></li>
<li id="fn:83">"Joy Division – Under Review TV documentary". Chrome Dreams. 2006. Archived from the original on 20 December 2021. Retrieved 1 September 2016. <a href="https://www.youtube.com/watch?v=bSEsMMO0KL8&t=363s" target="_blank">https://www.youtube.com/watch?v=bSEsMMO0KL8&t=363s</a> <a href="#fnref:83" class="footnote-back-ref">↩</a></li>
<li id="fn:84">Robb, John (10 January 2017). "Siouxsie and the Banshees first gig in 1976 playing Lords Prayer – was this where post punk starts?". Louder Than War. Archived from the original on 2 October 2017. Retrieved 1 September 2017. <a href="/wiki/John_Robb_(musician)" target="_blank">/wiki/John_Robb_(musician)</a> <a href="#fnref:84" class="footnote-back-ref">↩</a></li>
<li id="fn:85">Reynolds 2005, pp. 11. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. <a href="#fnref:85" class="footnote-back-ref">↩</a></li>
<li id="fn:86">"Classified Advertisements / Work/ Musicians Wanted". Melody Maker: 30. 6 May 1978. Drummer Wanted to play on/off beat for modern band with fashionable outlook and rather well known singer. - Virgin Records, 727 8070 <a href="/wiki/Melody_Maker" target="_blank">/wiki/Melody_Maker</a> <a href="#fnref:86" class="footnote-back-ref">↩</a></li>
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</ol>

Post-punk open-in-new

Post-punk