Menu
Home Explore People Places Arts History Plants & Animals Science Life & Culture Technology
On this page
Post-punk
Music genre

Post-punk, coined by Jon Savage in 1977, evolved from punk rock by embracing experimental sounds and diverse influences such as funk, electronic music, jazz, and dance music. Incorporating ideas from modernist art, cinema, and literature, post-punk artists also engaged with independent labels and multimedia. Bands like Siouxsie and the Banshees, Joy Division, and the Cure shaped the genre, which influenced related styles including gothic rock and industrial music. Though it faded by the mid-1980s, post-punk laid groundwork for the new pop, alternative, and indie rock movements.

We don't have any images related to Post-punk yet.
We don't have any YouTube videos related to Post-punk yet.
We don't have any PDF documents related to Post-punk yet.
We don't have any Books related to Post-punk yet.
We don't have any archived web articles related to Post-punk yet.

Etymology

See also: Art punk and New wave music

Post-punk is a diverse genre that emerged from the cultural milieu of punk rock in the late 1970s.23 Originally called "new musick", the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's garage rock template and into disparate areas.4 The earliest recorded use of the term 'post-punk' appeared in the 26 November 1977 issue of Sounds in an article titled "New Musick: Devo Look Into the Future!" by writer Jon Savage. The article also featured the earliest known use of the term 'new musick'. In the article, Savage described bands such as Devo, Pere Ubu, Throbbing Gristle, the Feelies, Subway Sect, the Prefects, Siouxsie and the Banshees, and the Slits as early examples of post-punk.5

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.67 Towards the end of the decade, some journalists used "art punk" as a pejorative for garage rock-derived acts deemed too sophisticated and out of step with punk's dogma.89 Before the early 1980s, many groups now categorised as "post-punk" were subsumed under the broad umbrella of "new wave", with the terms being deployed interchangeably. "Post-punk" became differentiated from "new wave" after their styles perceptibly narrowed.10 Additionally, post-punk is often understood not only as a genre, but also as an era of alternative music, spanning roughly from 1978 to 1984.11

The writer Nicholas Lezard described the term "post-punk" as "so multifarious that only the broadest use ... is possible".12 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.13 Music historian Clinton Heylin places the "true starting-point for English post-punk" somewhere between August 1977 and May 1978, with the arrival of guitarist John McKay in Siouxsie and the Banshees in July 1977, Magazine's first album, Wire's new musical direction in 1978 and the formation of Public Image Ltd.14 Music historian Simon Goddard wrote that the debut albums of those bands layered the foundations of post-punk.15

Author and musician Alex 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.16 Music journalist Simon Reynolds defined the post-punk era as occurring roughly between 1978 and 1984.[15] He advocated that post-punk be conceived as "less a genre of music than a space of possibility",17 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'".[15] AllMusic employs "post-punk" to denote "a more adventurous and arty form of punk".18

Reynolds asserted that the post-punk period produced significant innovations and music on its own.19 He 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".20 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".21

Characteristics

Post-punk is known for its distinctive approach to rhythm, instrumentation, and atmosphere. While rooted in punk rock's rawness, it diverges through experimental influences and unconventional structures. Although the genre aims to defy convention, many identifiable musical traits and patterns can still be found across post-punk. The genre absorbed elements from various global music traditions, often pushing boundaries beyond punk's simplicity.

  • Rhythmic emphasis: The genre frequently features repetitive and syncopated drumming, drawing from funk, dub, and disco. A hallmark is the influence of krautrock's motorik beat, creating a steady, mechanic rhythm with minimal use of cymbals.
  • Bass prominence: Unlike traditional rock, post-punk often places the bass guitar at the forefront, with melodic basslines or grooving riffs taking precedence over lead guitar.
  • Guitar work: Guitars tend to be angular, jagged, and rhythmic, often serving more percussive or textural roles, with a minimized focus on lead guitar and solos due to an anti-rockist approach. Dissonance and minimalism are common traits, and chords are frequently played in repetitive patterns.
  • Atmosphere and tone: Many post-punk bands explored dark, introspective, or detached moods, often employing experimental and atmospheric production techniques popularized by producer Martin Hannett, with an emphasis on space and, at times, non-traditional song structures.
  • Vocals and lyrics: Post-punk vocals are often unconventional, detached, monotone, or talk-sung. Lyrics could be abstract, experimental, academic, or politically engaged—often involving themes of alienation, introspection, existentialism, and nihilism—while also drawing influence from the avant-garde, critical theory, poetry, modernist literature, and philosophy.

More rhythmic forms of post-punk evolved into dance-punk, while darker styles developed into gothic rock, and more experimental approaches gave rise to art punk.

Influences

See also: Krautrock, Art rock, and Glam rock

Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts.2223 Cultural and political theorist Mark Fisher later expanded on this idea and moment in pop culture with his notion of "popular modernism" which described post-punk as emblematic of a period in which the avant-garde and mass culture were not opposed but deeply intertwined.2425 Artists defined punk as "an imperative to constant change" rather than a standardized template, believing that "radical content demands radical form".26 Though the music varied widely between regions and artists, the post-punk movement has been characterised by its "conceptual assault" on rock conventions.272829303132

In the 1970s, British post-punk bands were shaped by bleak and deteriorating urban environments, abandoned brutalist architecture and widespread social disillusionment brought on by deindustrialization.33 In the United States, those in the Ohio punk scene such as Pere Ubu and Devo as well as New York's CBGB scene, were similarly inspired by their city's harsh, smog-infested industrial landscape to create jagged, chaotic, and dissonant music shaped by gritty urban decay.34

Artists sought to refuse the common distinction between high and low culture35 and returned to the art school tradition found in the work of artists such as Roxy Music and David Bowie.363738 Jon Savage identified groups like the Velvet Underground, and Syd Barrett-era Pink Floyd as foundational influences on the movement, as well as glam rock, krautrock and art rock.39 Other previous musical styles such as art pop,40 garage rock, psychedelia and music from the 1960s were also influential.4142 While Captain Beefheart's polyrhythmic and angular sound became foundational to PiL and Devo.43 The movement also absorbed darker and heavier elements from early heavy metal, particularly Black Sabbath, which influenced the dark themes, atmospheres and guitar playing of bands like Killing Joke, Pere Ubu and Joy Division. Writer Edmond Maura noted that Sabbath shared commonality with post-punk bands in being influenced by the industrial and bleak environment surrounding them44 while bands like Swell Maps45,This Heat,4647 MX-80 Sound and Magazine48 drew from progressive rock—although often mythologized as an enemy of the wider punk scene— Louder notes: "the post-punk generation were making a new kind of prog".4950 Avant-garde jazz and free jazz also stood out as influences, highlighted by releases like Miles Davis' On the Corner.51

Germany's krautrock scene in the early 1970s similarly emerged from a rejection of formal rock conventions, with many post-punk bands citing groups like Can, Neu!, and Faust as key inspirations,52 while electronic band Kraftwerk53 heavily inspired Joy Division; their album Trans-Europe Express was particularly impactful on the development of cold wave. Additionally, the production and sound engineering techniques of krautrock producer Conny Plank—who treated the recording studio as an instrument—became a key influence on Martin Hannett.54

Three key figures—Brian Eno, David Bowie and Iggy Pop—played pivotal roles in advancing post-punk in the UK, with each of them heavily drawing from krautrock influences. Ex-Roxy Music member, Brian Eno's debut and sophomore albums would prove influential, with Eno later producing music for post-punk bands like Television,Talking Heads, Devo and U2. Additionally, Iggy Pop's The Idiot,5556 produced by Bowie was a crucial influence on Joy Division's Ian Curtis.57 While Bowie's Berlin Trilogy introduced ambient textures, atmospheric production and synthesizers to the post-punk movement, helping to "pave the way for much of post-punk's bleak, futuristic outlook".58

A variety of groups that predated punk, such as Cabaret Voltaire and Throbbing Gristle, experimented with tape machines and electronic instruments in tandem with performance art methods and influence from transgressive literature, ultimately helping to pioneer industrial music.59 Throbbing Gristle's independent label Industrial Records would become a hub for this scene and provide it with its namesake.

In the early-to-mid-1970s, several American bands had already begun expanding the vocabulary of punk music, infusing it with more art-based, literary, and avant-garde influences. Groups associated with New York's CBGB scene—such as Television, Suicide, Talking Heads, and the Patti Smith Group—were notable for pushing punk beyond its raw aggression into more experimental, rhythmically varied, and intellectually driven forms. Similarly to Midwestern bands like Devo60 and Pere Ubu61 who were among the earliest groups to be described as post-punk and performing in the style.62 San Francisco bands like The Residents63 were also noted as predecessors to the movement, with Chrome later emerging as a key early post-punk group that blended punk energy with psychedelic elements.

Although post-punk is often viewed as a direct reaction to the explosion of punk rock in 1977, music journalist Simon Reynolds observes that many of the groups later labeled as post-punk had roots predating punk's commercial breakthrough:

The truth is that some of the defining post punk groups were actually prepunk entities that existed in some form or another for several years before the Ramones' 1976 debut album.64

Background

Further information: Punk rock § 1979–1984: Schism and diversification

On 4 June 1976, the Sex Pistols' concert at Manchester's Lesser Free Trade Hall inspired future members of Joy Division, the Fall, Buzzcocks, and the Smiths to form their own bands. The performance inspired many in the audience to believe they could make music themselves—whether to simply participate or even outdo the Pistols—helping to democratize rock music and establish the DIY ethos that defined punk, where anyone could form a band regardless of technical skill. This event also helped spark the creation of independent labels like Factory Records and Creation Records, playing a key role in shaping Manchester's post-punk and indie music scenes.6566

As punk rock made it's commercial breakthrough in 1977, post-punk artists were initially inspired by punk's DIY ethic and energy,67 but ultimately became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, and self-parody.68 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, while rejecting aesthetics perceived of as traditionalist, hegemonic or rockist. Abandoned punk rock's continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs in favour of experimentation with production techniques and non-rock musical styles such as dub,69 funk,70 electronic music,71 disco,72 noise, world music,73 and the avant-garde.7475767778

Reynolds noted a preoccupation among some post-punk artists with issues such as alienation, repression, and technocracy of Western modernity.79 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, as well as post-industrial society, brutalist architecture80 and intellectual movements such as Structuralism (deconstruction) and postmodernism.81 Many artists viewed their work in explicitly political terms.82 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.83 Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music.84 Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement.85

On the other hand, Simon Reynolds notes that while post-punk emerged from punk's rejection of rock's excesses, it soon reintroduced many of the same qualities—such as elitism and intellectualism—found in art rock and progressive rock:

Some accused these experimentalists of merely lapsing back into the art rock elitism that punk originally aimed to destroy [...] Of course, not everyone in postpunk attended art school, or even college. Self-educated [...] figures like John Lydon or Mark E. Smith [...] fit the syndrome of the anti-intellectual intellectual.86

In his book The Weird and the Eerie, Mark Fisher describes Mark E. Smith of the Fall as a paradoxical entity in post-punk—working-class yet aligned with modernism and the avant-garde—stating that: "according to official bourgeois culture and its categories, a group like the Fall – working class and experimental, popular and modernist – could not and should not exist."8788

Many of the groups later associated with post-punk—such as Television, who released "Little Johnny Jewel"89 in 1975, and Pere Ubu, who followed with "30 Seconds Over Tokyo"9091 later that year—had to issue their music on self-created independent labels, as there was no established market or DIY infrastructure for punk yet. By the late 1970s, a new independent music culture emerged that allowed these artists to gain broader visibility. Additionally, influential experimental acts like The Residents92—though operating outside of the punk scene—garnered more attention during the post-punk era and would later become loosely associated with the scene.939495

Credit for the first post-punk record is disputed. While the movement is often cited as fully emerging in 1978, several albums released the year before are now considered early examples of the genre. These include Marquee Moon by Television (February 8, 1977), Ultravox! by Ultravox (February 25, 1977), The Idiot by Iggy Pop (March 18, 1977), Rattus Norvegicus by The Stranglers (April 15, 1977), Alien Soundtracks by Chrome (1977), Hard Attack by MX-80 Sound (1977) and Pink Flag by Wire (December 1977).

The following year saw the arrival of several key debuts that helped define the post-punk sound, including ("Shot by Both Sides", January 1978), Siouxsie and the Banshees ("Hong Kong Garden", August 1978), Public Image Ltd ("Public Image", October 1978), Cabaret Voltaire (Extended Play, November 1978) and Gang of Four ("Damaged Goods", December 1978).9697

During the punk era, a variety of entrepreneurs interested in local punk-influenced music scenes began founding independent record labels, including Rough Trade (founded by record shop owner Geoff Travis), Factory (founded by Manchester-based television personality Tony Wilson),98 and Fast Product (co-founded by Bob Last and Hilary Morrison).99100 By 1977, groups began pointedly pursuing methods of releasing music independently, an idea disseminated in particular by Buzzcocks' release of their Spiral Scratch EP on their own label as well as the self-released 1977 singles of Desperate Bicycles, which inspired a DIY punk movement.101 These DIY imperatives would help form the production and distribution infrastructure of post-punk and the indie music scene that later blossomed in the mid-1980s.102

1977–1979: early years

United Kingdom

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.103 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 white noise" and "massively accented drumming".104 John Robb argued that the first Banshees gig, on 20 September 1976, was "proto post-punk",105 comparing the rhythm section (which featured pre-Sex Pistols Sid Vicious on drums) to PiL's Metal Box released three years later.106

In November 1977, Siouxsie and the Banshees' first John Peel Session for BBC Radio 1 marked the transition to post-punk when they premiered "Metal Postcard" with space in the sound and serrated guitars,107 creating a music being "cold, machine-like and passionate at the same time".108 Mojo 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 Joy Division.109

In January 1978, singer John Lydon (then known as Johnny Rotten) announced the break-up of his pioneering punk band the Sex Pistols, citing his disillusionment with punk's musical predictability and cooption by commercial interests, as well as his desire to explore more diverse territory.110 In May, Lydon formed the group Public Image Ltd111 with guitarist Keith Levene and bassist Jah Wobble, the latter who declared "rock is obsolete" after citing reggae as a "natural influence".112 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."113

Around this time, acts such as Public Image Ltd, the Pop Group and the Slits had begun experimenting with dance music, dub production techniques and the avant-garde,114 while punk-indebted Manchester acts such as Joy Division, the Fall, the Durutti Column and A Certain Ratio developed unique styles that drew on a similarly disparate range of influences across music and modernist art.115 Bands such as Scritti Politti, Gang of Four, Essential Logic and This Heat incorporated leftist political philosophy and their own art school studies in their work.116 The unorthodox studio production techniques devised by producers such as Steve Lillywhite,117 Martin Hannett, and Dennis Bovell 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.118 A pioneering punk scene in Australia during the mid-1970s also fostered influential post-punk acts like The Birthday Party, who eventually relocated to the UK to join its burgeoning music scene.119

As these scenes began to develop, British music publications such as NME and Sounds developed an influential part in the nascent post-punk culture, with writers like Savage, Paul Morley and Ian Penman 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' The Scream, Wire's Chairs Missing, and American band Pere Ubu's Dub Housing.120 In 1979, NME championed records such as PiL's Metal Box, Joy Division's Unknown Pleasures, Gang of Four's Entertainment!, Wire's 154 and the Raincoats' self-titled debut.121

Siouxsie and the Banshees, Joy Division, Bauhaus and the Cure were examples of post-punk bands who shifted to dark overtones in their music, which would later spawn the gothic rock scene in the early 1980s.122123 Members of Siouxsie and the Banshees and the Cure worked on records and toured together regularly until 1984. Neo-psychedelia grew out of the British post-punk scene in the late 1970s.124 The genre later flourished into a more widespread and international movement of artists who applied the spirit of psychedelic rock to new sounds and techniques.125 Other styles such as avant-funk and industrial dub also emerged around 1979.126127

United States

See also: No wave

Midwestern groups such as Pere Ubu and Devo drew inspiration from the region's derelict industrial environments, employing conceptual art techniques, musique concrète and unconventional verbal styles that would presage the post-punk movement by several years with Ubu's early singles being described by some writers as "post-punk before punk",128129 their first British tour in 1978, including their show at Manchester's Rafters in April that year, significantly influenced the British post-punk scene. Jon Savage noted members of the newly formed Joy Division in attendance.130

A variety of subsequent groups, including the Boston-based Mission of Burma and the New York-based Talking Heads, combined elements of punk with art school sensibilities.131 In 1978, the latter band began a series of collaborations with British ambient pioneer and ex-Roxy Music member Brian Eno, experimenting with Dadaist lyrical techniques, electronic sounds, and African polyrhythms.132 San Francisco's vibrant post-punk scene was centered on such groups as Chrome, the Residents, Tuxedomoon and MX-80, whose influences extended to multimedia experimentation, cabaret and the dramatic theory of Antonin Artaud's Theater of Cruelty.133

Also emerging during this period was downtown New York's no wave movement, as well as a short-lived art and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes, often reflecting an abrasive and nihilistic worldview.134135 No wave musicians such as The Contortions, Teenage Jesus and the Jerks, Mars, DNA, Theoretical Girls, and Rhys Chatham instead experimented with noise, dissonance and atonality in addition to non-rock styles.136 The former four groups were included on the Eno-produced No New York compilation (1978), often considered the quintessential testament to the scene.137 The decadent parties and art installations of venues such as Club 57 and the Mudd Club would become cultural hubs for musicians and visual artists alike, with figures such as Jean-Michel Basquiat, Keith Haring and Michael Holman frequenting the scene.138 According to Village Voice 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".139 Anderson claimed that the no wave scene represented "New York's last stylistically cohesive avant-rock movement".140

1980–1984: further developments

UK scene and commercial ambitions

See also: new pop

British post-punk entered the 1980s with support from members of the critical community—American critic Greil Marcus characterised "Britain's postpunk pop avant-garde" in a 1980 Rolling Stone article as "sparked by a tension, humour and sense of paradox plainly unique in present-day pop music"141—as well as media figures such as BBC DJ John Peel, while several groups, such as PiL and Joy Division, achieved some success in the popular charts.142 The network of supportive record labels that included Y Records, Industrial, Fast, E.G., Mute, Axis/4AD, and Glass continued to facilitate a large output of music. By 1980–1981, many British acts, including Maximum Joy, Magazine, Essential Logic, Killing Joke, the Sound, 23 Skidoo, Alternative TV, the Teardrop Explodes, the Psychedelic Furs, Echo & the Bunnymen and the Membranes also became part of these fledgling post-punk scenes, which centered on cities such as London and Manchester.143

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.144 Morley's own musical collaboration with engineer Gary Langan and programmer J. J. Jeczalik, the Art of Noise, would attempt to bring sampled and electronic sounds to the pop mainstream.145 Post-punk artists such as Scritti Politti's Green Gartside and Josef K's Paul Haig, previously engaged in avant-garde practices, turned away from these approaches and pursued mainstream styles and commercial success.146 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 new pop.147

Several more pop-oriented groups, including ABC, the Associates, Adam and the Ants and Bow Wow Wow (the latter two managed by former Sex Pistols manager Malcolm McLaren) emerged in tandem with the development of the New Romantic subcultural scene.148 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 Gary Numan, Depeche Mode, the Human League, Soft Cell, John Foxx and Visage helped pioneer a new synthpop style that drew more heavily from electronic and synthesizer music and benefited from the rise of MTV.149

Downtown Manhattan

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 ZE Records' Mutant Disco (1981) highlighting a newly playful sensibility borne out of the city's clash of hip hop, disco and punk styles, as well as dub reggae and world music influences.150 Artists such as ESG, Liquid Liquid, The B-52s, Cristina, Arthur Russell, James White and the Blacks, and Lizzy Mercier Descloux pursued a formula described by Lucy Sante as "anything at all + disco bottom".151 Other no wave-indebted artists such as Swans, Rhys Chatham, Glenn Branca, Lydia Lunch, the Lounge Lizards, Bush Tetras, and Sonic Youth instead continued exploring the early scene's forays into noise music's abrasive territory.152

Mid-1980s–1990s: decline

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 new pop movement, with entryism becoming a popular concept.153 In the United States, driven by MTV and modern rock radio stations, a number of post-punk acts had an influence on or became part of the Second British Invasion of "New Music" there.154155 Some shifted to a more commercial new wave sound (such as Gang of Four),156157 while others were fixtures on American college radio and became early examples of alternative rock, such as R.E.M. One band to emerge from post-punk was U2,158 which infused elements of religious imagery and political commentary into its often anthemic music.

Online database AllMusic noted that late '80s bands such as Big Flame, World Domination Enterprises, and Minimal Compact appeared to be extensions of post-punk.159

Some notable bands that recalled the original era during the 1990s included Six Finger Satellite, Brainiac, and Elastica.160

Later developments

2000s: revival

Main article: Post-punk revival

The Strokes debut album Is this It spearheaded what became known as the New York post-punk revival. Which lead to an explosion of bands such as the Yeah Yeah Yeahs, LCD Soundsystem, the Rapture, Interpol, Liars, the Rogers Sisters, the Fiery Furnaces, Radio 4 and !!!.161 Following this a new group of bands that played a stripped down and back-to-basics version of guitar rock emerged into the mainstream,162 such as the UKs Franz Ferdinand, the Futureheads and Maxïmo Park.163 These bands were variously characterised as part of a post-punk revival or new wave revival.164165166167 Their music ranged from the atonal tracks of bands like Liars to the melodic pop songs of groups like The Sounds.168 They shared an emphasis on energetic live performance and used aesthetics (in hair and clothes) closely aligned with their fans,169 often drawing on fashion of the 1950s and 1960s,170 with "skinny ties, white belts [and] shag haircuts".171 There was an emphasis on "rock authenticity" that was seen as a reaction to the commercialism of MTV-oriented nu metal, hip hop172 and "bland" post-Britpop groups.173 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.174175176

2010s–2020s

Arun Starkey of Far Out magazine 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".177 Referring to bands such as Denmark's Iceage, England's Eagulls, Savages and Sleaford Mods, Canada's Ought and Preoccupations, and America's Protomartyr and Parquet Courts.178 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 Donald Trump and the Brexit vote."179

Revival in the UK and Ireland

During the late 2010s and early 2020s, a new wave of UK and Irish post-punk bands named "the Windmill scene" (after the Brixton pub of the same name) gained popularity. It has been noted as being rooted in experimental post-punk and often featuring vocalists who "tend to talk more than they sing, reciting lyrics in an alternately disaffected or tightly wound voice", which was an approach penned by Mark E. Smith of The Fall, a band the scene primarily draws influence from.180181Additionally, bands are also often being influenced by post-rock.182 Referred to by the Ramapo College of New Jersey's Ramapo News in 2025 as "the most significant movement in rock music in the past decade", terms such as "crank wave", "post-Brexit new wave" and "Speedy Scene" have also been used to describe the scene.183184185 Among the bands often associated with the scene are Black Country, New Road, Black Midi, Squid, Dry Cleaning, Shame, Sleaford Mods, and Yard Act: who all had albums that charted in the top thirty in the UK and have achieved prominent critical success.186187188189190191192

List of bands

Main article: List of post-punk bands

Notes

Citations

Bibliography

Further reading

Wikimedia Commons has media related to Post-punk.

References

  1. 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. ↩

  2. 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. http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk ↩

  3. Punk rock, whose criteria and categorisation fluctuated throughout the early 1970s, was a crystallised genre by 1976 or 1977.[3] ↩

  4. 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. https://books.google.com/books?id=-MVrM3zKrHQC ↩

  5. Savage, Jon (26 November 1977). "New Musick: Devo Look Into the Future!". Sounds. Retrieved 17 June 2025. https://www.rocksbackpages.com/Library/Article/new-musick-devo-look-into-the-future ↩

  6. Wilkinson 2016, p. 1. - Wilkinson, David (2016). Post-Punk, Politics and Pleasure in Britain. Springer. ISBN 978-1-137-49780-2. https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8 ↩

  7. According to critic Simon Reynolds, Savage introduced "new musick", which may refer to the more science-fiction and industrial sides of post-punk.[7] /wiki/Simon_Reynolds ↩

  8. 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. https://books.google.com/books?id=ZvhoZyTzspYC&pg=PA5 ↩

  9. In rock music of the era, "art" carried connotations that meant "aggressively avant-garde" or "pretentiously progressive".[9] Additionally, there were concerns over the authenticity of such bands.[8] ↩

  10. Jackson, Josh (8 September 2016). "The 50 Best New Wave Albums". Paste. Archived from the original on 1 October 2017. Retrieved 24 January 2017. https://www.pastemagazine.com/articles/2016/09/the-best-new-wave-albums.html ↩

  11. Wilkinson 2016, p. 1. - Wilkinson, David (2016). Post-Punk, Politics and Pleasure in Britain. Springer. ISBN 978-1-137-49780-2. https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8 ↩

  12. 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. /wiki/Nicholas_Lezard ↩

  13. Wilkinson 2016, p. 8. - Wilkinson, David (2016). Post-Punk, Politics and Pleasure in Britain. Springer. ISBN 978-1-137-49780-2. https://books.google.com/books?id=3B_0DAAAQBAJ&pg=PA8 ↩

  14. Heylin 2008, p. 460. - Heylin, Clinton (2008). Babylon's Burning: From Punk to Grunge. Penguin Books. ISBN 978-0-14-102431-8. ↩

  15. 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. https://archive.org/details/mozipediaencyclo00godd_0 ↩

  16. 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. http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk ↩

  17. 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. http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk ↩

  18. "Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. https://www.allmusic.com/style/post-punk-ma0000004450 ↩

  19. 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. /wiki/Kitty_Empire ↩

  20. Reynolds 1996, p. xi. - Reynolds, Simon (1996). The Sex Revolts: Gender, Rebellion, and Rock 'n' Roll. Harvard University Press. ISBN 978-0674802735. https://archive.org/details/sexrevoltsgender00reyn ↩

  21. 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. /wiki/Nicholas_Lezard ↩

  22. 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. /wiki/Kitty_Empire ↩

  23. Reynolds 2005, p. 2, "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. ↩

  24. "Mark Fisher: The Culture Behind the Post-Punk 'Portal'". CCCB LAB. 21 February 2023. Retrieved 27 June 2025. https://lab.cccb.org/en/mark-fisher-the-culture-behind-the-post-punk-portal/ ↩

  25. "Mark Fisher's Popular Modernism". tribunemag.co.uk. Retrieved 27 June 2025. https://tribunemag.co.uk/2019/01/mark-fisher-kpunk-popular-modernism ↩

  26. 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. ↩

  27. 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. /wiki/Kitty_Empire ↩

  28. 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. /wiki/Nicholas_Lezard ↩

  29. Reynolds 2005, p. 1, "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. ↩

  30. 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. /wiki/Kitty_Empire ↩

  31. 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. http://thequietus.com/articles/02854-looking-beyond-simon-reynolds-rip-it-up-towards-a-new-definition-of-post-punk ↩

  32. Stanley, Bob (14 July 2014). Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé. W. W. Norton & Co. ↩

  33. "Brutalism and post-punk: a story of architecture and rebellion". www.domusweb.it. Retrieved 27 June 2025. https://www.domusweb.it/en/architecture/2021/03/10/----brutalismo-e-post-punk-un-rapporto-di-architettura-e-ribellione-.html ↩

  34. "Pere Ubu – Record Collector Magazine". Retrieved 27 June 2025. https://recordcollectormag.com/articles/pere-ubu ↩

  35. 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. https://socialistworker.co.uk/art/11487/Simon+Reynolds+interview%3A+Pop,+politics,+hip-hop+and+postpunk ↩

  36. 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. ↩

  37. Rojek 2013, p. 28. - Rojek, Chris (2013). Pop Music, Pop Culture. Polity Press. ISBN 978-0-74564263-5. ↩

  38. Fisher, Mark. "You Remind Me of Gold: Dialogue with Simon Reynolds". Kaleidoscope. Issue 9, 2010. ↩

  39. Savage, Jon (26 November 1977). "New Musick: Devo Look Into the Future!". Sounds. Retrieved 17 June 2025. https://www.rocksbackpages.com/Library/Article/new-musick-devo-look-into-the-future ↩

  40. Fisher, Mark. "You Remind Me of Gold: Dialogue with Simon Reynolds". Kaleidoscope. Issue 9, 2010. ↩

  41. 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. https://books.google.com/books?id=DvgH58uEPFAC&pg=PA418 ↩

  42. 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.[31] 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".[32] /wiki/Pink_Floyd ↩

  43. O'Hagan, Sean (19 December 2010). "Captain Beefheart obituary: rock's father of invention". The Guardian. ISSN 0261-3077. Retrieved 27 June 2025. https://www.theguardian.com/music/2010/dec/19/captain-beefheart-tribute-legacy ↩

  44. Edmond, Maura (2021). "From poptimism to pandemics: Feminism, feeling and critical distance in contemporary music criticism". Leeds Beckett University. Retrieved 27 June 2025. https://eprints.leedsbeckett.ac.uk/id/eprint/7601/ ↩

  45. "Swell Maps: Jane from Occupied Europe". Uncut. p. 123. Jane... majors in innocent instrumental prog-rock... /wiki/Uncut_(magazine) ↩

  46. Harvell, Jess. "This Heat: Out of Cold Storage". Pitchfork. Retrieved 27 June 2025. https://pitchfork.com/reviews/albums/9158-out-of-cold-storage/ ↩

  47. "This Heat and Camberwell Now". www.furious.com. Retrieved 27 June 2025. https://www.furious.com/perfect/thisheat.html ↩

  48. Simpson, Dave (12 December 2008). "'Howard, it's your last chance to be venerable'". The Guardian. ISSN 0261-3077. Retrieved 27 June 2025. https://www.theguardian.com/music/2008/dec/12/magazine-howard-devoto ↩

  49. Udopublished, Tommy (8 February 2025). "'Almost overnight after the Sex Pistols, prog rock came to a halt': 1977 was the supposedly the year punk killed prog. The truth is very different". Louder. Retrieved 27 June 2025. https://www.loudersound.com/features/punk-versus-prog-1977 ↩

  50. Progressive rock band Henry Cow's Marxist leanings and collectivist ethos played a foundational role in the Rock in Opposition movement, which later influenced experimental bands like This Heat, and acted as a precursor to far-left leaning post-punk bands like Gang of Four, Scritti Politti and The Pop Group.Forrest, Ben (27 February 2024). "How Henry Cow created Britain's most revolutionary album". faroutmagazine.co.uk. Retrieved 27 June 2025. /wiki/Progressive_rock ↩

  51. Marshall, Colin (24 April 2025). "Miles Davis' Album On the Corner Tried to Woo Young Rock & Funk Fans: First Considered a Disaster, It's Now Hailed as a Masterpiece". Open Culture. Retrieved 27 June 2025. https://www.openculture.com/?p=1123071 ↩

  52. Stubbs, David (2024). "Krautrock and British Post-Punk". In Reising, Russell (ed.). The Cambridge Companion to Krautrock. Cambridge University Press. Retrieved 26 June 2025. https://www.cambridge.org/core/books/abs/cambridge-companion-to-krautrock/krautrock-and-british-postpunk/F3E4EE8B0100BE9799D9BC9EC6DA5B8E ↩

  53. Reynolds, Simon (7 May 2020). "How Florian Schneider And Kraftwerk Created Pop's Future". NPR. Retrieved 26 June 2025. https://www.npr.org/2020/05/07/852081716/how-florian-schneider-and-kraftwerk-created-pops-future ↩

  54. Beta, Andy. "Various Artists: Who's That Man: A Tribute to Conny Plank". Pitchfork. Retrieved 26 June 2025. https://pitchfork.com/reviews/albums/17582-whos-that-man-a-tribute-to-conny-plank/ ↩

  55. Peacock, Tim (18 March 2025). "'The Idiot': How Iggy Pop And David Bowie Invented Post-Punk". uDiscover Music. Retrieved 26 June 2025. https://www.udiscovermusic.com/stories/iggy-pop-the-idiot-debut-album/ ↩

  56. Forrest, Ben (28 January 2024). "Iggy Pop, 'The Idiot', and dreams of dystopia". faroutmagazine.co.uk. Retrieved 26 June 2025. https://faroutmagazine.co.uk/iggy-pop-the-idiot-dreams-dystopia/ ↩

  57. "Lyndsanity | Peter Hook on unarchiving Ian Curtis's vinyl copy of Iggy Pop's 'The Idiot': 'To hold that record in my hands was the strangest feeling I've had in a long time'". Retrieved 26 June 2025. https://www.lyndsanity.com/music/peter-hook-on-unarchiving-ian-curtis-copy-of-iggy-pops-the-idiot-to-hold-that-record-in-my-hands-was-the-strangest-feeling/ ↩

  58. Deserto, Frank (14 January 2016). "David Bowie | Low". Post-Punk.com. Retrieved 26 June 2025. https://post-punk.com/david-bowie-low/ ↩

  59. Reynolds 2005, pp. 86, 124–130. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  60. Savage, Jon (26 November 1977). "New Musick: Devo Look Into the Future!". Sounds. Retrieved 17 June 2025. https://www.rocksbackpages.com/Library/Article/new-musick-devo-look-into-the-future ↩

  61. "Pere Ubu". Punk 77. Retrieved 26 June 2025. https://punk77.co.uk/band/pere-ubu/ ↩

  62. 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. ↩

  63. "The Residents". Punk 77. Retrieved 26 June 2025. https://punk77.co.uk/band/the-residents/ ↩

  64. Reynolds 2005, p. 12. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  65. Twiss, Jessica (21 April 2022). "'The Gig that Changed the World': The Impact of the Sex Pistols 1976 Manchester Gig". Manchester Historian. Retrieved 26 June 2025. https://manchesterhistorian.com/2022/the-gig-that-changed-the-world-the-impact-of-the-sex-pistols-1976-manchester-gig-by-jessica-twiss/ ↩

  66. "BBC Radio 6 Music - Radcliffe and Maconie, Live from Manchester's Lesser Free Trade Hall - They Swear They Were There: Sex Pistols at the Lesser Free Trade Hall". BBC. Retrieved 26 June 2025. https://www.bbc.co.uk/programmes/articles/4f0B5rf6z2wYQpm5WNqsqP7/they-swear-they-were-there-sex-pistols-at-the-lesser-free-trade-hall ↩

  67. "Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. https://www.allmusic.com/style/post-punk-ma0000004450 ↩

  68. 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. ↩

  69. 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. ↩

  70. 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. ↩

  71. 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. ↩

  72. 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. ↩

  73. "Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. https://www.allmusic.com/style/post-punk-ma0000004450 ↩

  74. "Post-Punk". AllMusic. Archived from the original on 20 December 2014. Retrieved 5 December 2014. https://www.allmusic.com/style/post-punk-ma0000004450 ↩

  75. Rojek 2013, p. 28. - Rojek, Chris (2013). Pop Music, Pop Culture. Polity Press. ISBN 978-0-74564263-5. ↩

  76. Reynolds 2005, p. 1, "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. ↩

  77. 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. ↩

  78. McGinley, Tara (18 February 2013). "The Seven Commandments of art punk: Wire's rules of negative self-definition, 1977". Dangerous Minds. Retrieved 26 June 2025. https://dangerousminds.net/comments/the_seven_commandments_of_art_punk_wires_rules/ ↩

  79. Reynolds, Simon (13 February 1987). "End of the Track". New Statesman. Archived from the original on 25 October 2019. Retrieved 5 March 2017. http://reynoldsretro.blogspot.com/2013/05/end-of-track-albums-round-up-column-new.html ↩

  80. "Brutalism and post-punk: a story of architecture and rebellion". www.domusweb.it. Retrieved 27 June 2025. https://www.domusweb.it/en/architecture/2021/03/10/----brutalismo-e-post-punk-un-rapporto-di-architettura-e-ribellione-.html ↩

  81. 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. ↩

  82. 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. ↩

  83. 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. ↩

  84. 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. /wiki/Nicholas_Lezard ↩

  85. 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. ↩

  86. Reynolds 2005, p. 9. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  87. Koshy, Yohann (20 February 2017). "The Revolution Will Be Weird and Eerie". Vice. Retrieved 27 June 2025. https://www.vice.com/en/article/the-revolution-will-be-weird-and-eerie/ ↩

  88. Fisher, Mark (2017). The Weird and the Eerie. Repeater Books. ISBN 9781910924389. 9781910924389 ↩

  89. "Television, 'Little Johnny Jewel'". Rolling Stone Australia. 3 July 2020. Retrieved 26 June 2025. https://au.rollingstone.com/music/music-lists/greatest-debut-songs-singles-11446/television-little-johnny-jewel-2-11489/ ↩

  90. Kitching, Sean (26 January 2021). "The Strange World Of... Pere Ubu". The Quietus. Retrieved 27 June 2025. https://thequietus.com/interviews/strange-world-of/pere-ubu-best-of/ ↩

  91. media (28 October 2016). "PERE UBU –Post Punk before Punk?". Underground. Retrieved 27 June 2025. https://underground-england.com/pere-ubu-post-punk-before-punk/ ↩

  92. "The Residents". Punk 77. Retrieved 26 June 2025. https://punk77.co.uk/band/the-residents/ ↩

  93. "The Residents". Amy Hanson. 27 January 2010. Retrieved 26 June 2025. https://amyhanson.wordpress.com/music-journalism/the-residents-the-eyeballs-have-it/ ↩

  94. Canty, Ian (25 February 2017). "The Residents: The Ghost Of Hope – album review". Louder Than War. Retrieved 26 June 2025. https://louderthanwar.com/the-residents-the-ghost-of-hope-album-review/ ↩

  95. "PERE UBU @ RICH MIX, LONDON – Post-Punk Music". 9 July 2023. Retrieved 27 June 2025. https://postpunk.co.uk/pere-ubu-rich-mix-london ↩

  96. Lester 2009, pp. 83–85. - Lester, Paul (2009). Gang of Four: Damaged Gods. Omnibus Press. ISBN 978-0-85712-020-5. https://books.google.com/books?id=Q8zNYQmaiZwC&pg=PT83 ↩

  97. Gang of Four producer Bob Last said that "Damaged Goods" was post-punk's turning point, saying, "Not to take anything way from PiL – that was a very powerful gesture for John Lydon to go in that direction – but the die had already been cast. The postmodern idea of toying with convention in rock music: we claim that."[76] ↩

  98. 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. ↩

  99. 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. https://www.theguardian.com/music/musicblog/2016/feb/09/cult-heroes-bob-last-subversive-scottish-post-punk-label-creator ↩

  100. 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. https://www.dailyrecord.co.uk/entertainment/celebrity-interviews/how-tiny-scots-label-fast-5866643 ↩

  101. 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. ↩

  102. 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. ↩

  103. 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. ↩

  104. 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. https://books.google.com/books?id=-MVrM3zKrHQC ↩

  105. post-punk.com (20 September 2016). "Siouxsie and the Banshees' First Gig". Post-Punk.com. Retrieved 27 June 2025. https://post-punk.com/40-years-siouxsie-and-the-banshees/ ↩

  106. 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. /wiki/John_Robb_(musician) ↩

  107. 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. /wiki/Uncut_(magazine) ↩

  108. Goldman, Vivien (3 December 1977). "New Music – Siouxsie Sioux Who R U?". Sounds. /wiki/Sounds_(magazine) ↩

  109. "Joy Division – Under Review TV documentary". Chrome Dreams. 2006. Archived from the original on 20 December 2021. Retrieved 1 September 2016. https://www.youtube.com/watch?v=bSEsMMO0KL8&t=363s ↩

  110. 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. ↩

  111. "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 /wiki/Melody_Maker ↩

  112. Spencer, Neil (27 May 1978). "Introducing Johnny Rotten's Lonely Hearts Club Band". NME. We talk about the differences between the rock culture and the reggae culture, which I suggest has a good deal more dignity than most rock bands or acts can muster. Both Levene and Wobble agree. 'Rock is obsolete,' says Wobble. 'But it's our music, our basic culture. People thought we were gonna play reggae, but we ain't gonna be no GT Moore and the Reggae Guitars or nothing. It's just a natural influence – like I play heavy on the bass.' ↩

  113. Coon, Caroline (22 July 1978). "Public Image – John Rotten and the Windsor Uplift". Sounds. /wiki/Caroline_Coon ↩

  114. Reynolds 2005, pp. 41–54. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  115. Reynolds 2005, pp. 103–109. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  116. Reynolds 2005, pp. 54, 180–182. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  117. Chester, Tim (14 March 2010). "50 of the Greatest Producers Ever". NME. Archived from the original on 25 May 2016. Retrieved 1 June 2016. https://www.nme.com/list/50-of-the-greatest-producers-ever/262849/page/2 ↩

  118. Young 2006. - 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. https://books.google.com/books?id=ZvhoZyTzspYC&pg=PA5 ↩

  119. Reynolds 2005, pp. 9–10. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  120. "Sounds End of Year Lists". Rock list music. Archived from the original on 2 October 2012. Retrieved 9 May 2016. https://web.archive.org/web/20121002034427/http://www.rocklistmusic.co.uk/sounds.html ↩

  121. "1979 NME Albums". Rock List Music. Archived from the original on 11 July 2012. Retrieved 9 May 2016. https://web.archive.org/web/20120711042016/http://www.rocklistmusic.co.uk/1979.html ↩

  122. Reynolds 2005, p. 427. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  123. Abebe, Nitsuh (24 January 2007). "Various Artists: A Life Less Lived: The Gothic Box". Pitchfork. Archived from the original on 21 June 2013. Retrieved 10 March 2013. https://pitchfork.com/reviews/albums/9814-a-life-less-lived-the-gothic-box/ ↩

  124. "Neo-Psychedelia". AllMusic. n.d. Archived from the original on 29 August 2020. Retrieved 21 April 2020. https://www.allmusic.com/style/neo-psychedelia-ma0000012252 ↩

  125. Terich, Jeff. "10 Essential Neo-Psychedelia Albums". Treblezine. Archived from the original on 31 December 2017. Retrieved 26 February 2017. http://www.treblezine.com/24002-10-best-neo-psychedelic-albums/ ↩

  126. 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. http://www.furious.com/perfect/simonreynolds32.html ↩

  127. Reynolds, Simon (13 February 1987). "End of the Track". New Statesman. Archived from the original on 25 October 2019. Retrieved 5 March 2017. http://reynoldsretro.blogspot.com/2013/05/end-of-track-albums-round-up-column-new.html ↩

  128. media (28 October 2016). "PERE UBU –Post Punk before Punk?". Underground. Retrieved 27 June 2025. https://underground-england.com/pere-ubu-post-punk-before-punk/ ↩

  129. Kitching, Sean (26 January 2021). "The Strange World Of... Pere Ubu". The Quietus. Retrieved 27 June 2025. https://thequietus.com/interviews/strange-world-of/pere-ubu-best-of/ ↩

  130. Quietus, The (22 January 2018). "40 Years On: Pere Ubu's The Modern Dance Revisited". The Quietus. Retrieved 27 June 2025. https://thequietus.com/opinion-and-essays/anniversary/pere-ubu-the-modern-dance-review-anniversary/ ↩

  131. Reynolds 2005, pp. 158. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  132. Reynolds 2005, pp. 158. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  133. Reynolds 2005, pp. 197–204. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  134. "NO!: The Origins of No Wave". Pitchfork. 15 January 2008. Archived from the original on 20 September 2020. Retrieved 5 September 2020. https://pitchfork.com/features/article/6764-no-the-origins-of-no-wave/ ↩

  135. "No Wave Music Genre Overview". AllMusic. Archived from the original on 6 August 2020. Retrieved 5 September 2020. https://www.allmusic.com/style/no-wave-ma0000005018 ↩

  136. Reynolds 2005, pp. 140. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  137. Masters 2008, p. 9. - Masters, Marc (2008). No Wave. New York City: Black Dog Publishing. ISBN 978-1-906155-02-5. ↩

  138. Reynolds 2005, pp. 264, 266. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  139. Foege 1994, pp. 68–69. - Foege, Alec (October 1994). Confusion Is Next: The Sonic Youth Story. Macmillan. ISBN 978-0-3121-1369-8. Archived from the original on 14 April 2021. Retrieved 25 October 2020. https://books.google.com/books?id=sw6GE_5XTz4C&q=New+York%27s+last+stylistically+cohesive+avant-rock+movement ↩

  140. Foege 1994, pp. 68–69. - Foege, Alec (October 1994). Confusion Is Next: The Sonic Youth Story. Macmillan. ISBN 978-0-3121-1369-8. Archived from the original on 14 April 2021. Retrieved 25 October 2020. https://books.google.com/books?id=sw6GE_5XTz4C&q=New+York%27s+last+stylistically+cohesive+avant-rock+movement ↩

  141. Marcus 1994, p. 109. - Marcus, Greil (1994). Ranters & Crowd Pleasers. Anchor Books. ISBN 978-0-38541-721-1. Archived from the original on 9 October 2023. Retrieved 19 October 2020. https://books.google.com/books?id=linaAAAAMAAJ ↩

  142. "Joy Division - Biography". Billboard. Archived from the original on 1 January 2020. Retrieved 21 August 2017. https://www.billboard.com/artist/305294/joy-division/biography ↩

  143. Reynolds 2005. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  144. Harvel, Jess. "Now That's What I Call New Pop!" Archived 5 March 2016 at the Wayback Machine Pitchfork. 12 September 2005. https://pitchfork.com/features/article/6139-now-thats-what-i-call-new-pop/ ↩

  145. Reynolds 2005, pp. 374. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  146. Reynolds 2005, pp. 315, 294. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  147. 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. /wiki/Kitty_Empire ↩

  148. Reynolds 2005, pp. 289, 294. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  149. Reynolds 2005, pp. 296–308. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  150. Reynolds 2005, pp. 269. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  151. Reynolds 2005, pp. 268. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  152. Reynolds 2005, pp. 139–150. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  153. Reynolds 2005. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  154. Sullivan, Jim (2 March 1984). "Triumph of the 'New'". The Michigan Daily. Archived from the original on 28 June 2021. Retrieved 8 July 2012. https://news.google.com/newspapers?id=qQhKAAAAIBAJ&pg=2933,2175658&dq=new-music+new-wave&hl=en ↩

  155. Reynolds 2005. - Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 978-0-14-303672-2. ↩

  156. Kellman, Andy. "Songs of the Free – Gang of Four". AllMusic. Archived from the original on 13 January 2016. Retrieved 19 February 2015. https://www.allmusic.com/album/songs-of-the-free-bonus-tracks-mw0000179874 ↩

  157. Hanson, Amy. "Hard – Gang of Four". AllMusic. Archived from the original on 28 February 2015. Retrieved 19 February 2015. https://www.allmusic.com/album/hard-mw0000849532 ↩

  158. Hoffman & Ferstler 2004, p. 1135. - Hoffman, F. W.; Ferstler, H. (2004). Encyclopedia of Recorded Sound, Volume 1 (2nd ed.). New York: CRC Press. ISBN 0-415-93835-X. ↩

  159. "New Wave/Post-Punk Revival". AllMusic. Archived from the original on 1 May 2011. Retrieved 6 August 2009. https://www.allmusic.com/style/new-wave-post-punk-revival-ma0000012020 ↩

  160. "New Wave/Post-Punk Revival". AllMusic. Archived from the original on 1 May 2011. Retrieved 6 August 2009. https://www.allmusic.com/style/new-wave-post-punk-revival-ma0000012020 ↩

  161. Hebblethwaite, Phil (2 June 2016). "Is this it? What happened to the New York post-punk revival bands - BBC Music". www.bbc.co.uk. Retrieved 5 December 2024. https://www.bbc.co.uk/music/articles/ac4094fc-25a5-451e-aef0-6e21de986ddd ↩

  162. "New Wave/Post-Punk Revival". AllMusic. Archived from the original on 1 May 2011. Retrieved 6 August 2009. https://www.allmusic.com/style/new-wave-post-punk-revival-ma0000012020 ↩

  163. Hebblethwaite, Phil (2 June 2016). "Is this it? What happened to the New York post-punk revival bands - BBC Music". www.bbc.co.uk. Retrieved 5 December 2024. https://www.bbc.co.uk/music/articles/ac4094fc-25a5-451e-aef0-6e21de986ddd ↩

  164. "New Wave/Post-Punk Revival". AllMusic. Archived from the original on 16 February 2011. https://www.webcitation.org/5wXTJhkeb?url=http://www.allmusic.com/explore/style/d13761 ↩

  165. Phares, H. "Franz Ferdinand: Franz Ferdinand (Australia Bonus CD)". AllMusic. Archived from the original on 15 February 2011. https://www.webcitation.org/5wXTt4hOr?url=http://www.allmusic.com/album/franz-ferdinand-australia-bonus-cd-r690093/review ↩

  166. DeRogatis, J. (2003). Turn on your Mind: Four Decades of Great Psychedelic Rock. Milwaukee, Wisconsin: Hal Leonard. p. 373. ISBN 0-634-05548-8. 0-634-05548-8 ↩

  167. Roach, M. (2003). This Is It: the First Biography of the Strokes. London: Omnibus. p. 8. ISBN 0-7119-9601-6. 0-7119-9601-6 ↩

  168. "New Wave/Post-Punk Revival". AllMusic. Archived from the original on 16 February 2011. https://www.webcitation.org/5wXTJhkeb?url=http://www.allmusic.com/explore/style/d13761 ↩

  169. Borthwick, S.; Moy, R. (2004). Popular Music Genres: An Introduction. Edinburgh: Edinburgh University Press. p. 117. ISBN 0-7486-1745-0. 0-7486-1745-0 ↩

  170. Abbey, E. J. (2006). Garage Rock and its Roots: Musical Rebels and the Drive for Individuality. Jefferson, North Carolina: McFarland. pp. 105–112. ISBN 0-7864-2564-4. 0-7864-2564-4 ↩

  171. Spitz, M. (May 2010). "The 'New Rock Revolution' fizzles". Spin. Vol. 26, no. 4. p. 95. ISSN 0886-3032. Archived from the original on 5 April 2023. Retrieved 25 July 2022. https://books.google.com/books?id=yqmlNOuYQdEC&dq=Spitz+%22The+New+Rock+Revolution%22&pg=PA95 ↩

  172. Borthwick, S.; Moy, R. (2004). Popular Music Genres: An Introduction. Edinburgh: Edinburgh University Press. p. 117. ISBN 0-7486-1745-0. 0-7486-1745-0 ↩

  173. Roach, M. (2003). This Is It: The First Biography of the Strokes. London: Omnibus. pp. 42, 45. ISBN 0-7119-9601-6. 0-7119-9601-6 ↩

  174. Lipshutz, J. (23 March 2011). "Top 10 garage rock revival bands: where are they now?". Billboard. Archived from the original on 15 February 2013. Retrieved 23 December 2011. http://www.billboard.com/articles/news/472408/top-10-garage-rock-revival-bands-where-are-they-now ↩

  175. Walker, T. (21 January 2010). "Does the world need another indie band?". Independent. Archived from the original on 4 March 2010. https://web.archive.org/web/20100304122059/http://www.independent.co.uk/arts-entertainment/music/features/does-the-world-need-another-indie-band-870520.html ↩

  176. Cochrane, G. (21 January 2010). "2009: 'The year British indie guitar music died'". Newsbeat. BBC Radio 1. Archived from the original on 25 November 2010. https://web.archive.org/web/20101125173050/http://www.bbc.co.uk/newsbeat/10004881 ↩

  177. "Is the new post-punk revival over?". faroutmagazine.co.uk. 14 January 2022. Retrieved 11 November 2024. https://faroutmagazine.co.uk/is-the-post-punk-revival-over/ ↩

  178. "Is the new post-punk revival over?". faroutmagazine.co.uk. 14 January 2022. Retrieved 11 November 2024. https://faroutmagazine.co.uk/is-the-post-punk-revival-over/ ↩

  179. "Is the new post-punk revival over?". faroutmagazine.co.uk. 14 January 2022. Retrieved 11 November 2024. https://faroutmagazine.co.uk/is-the-post-punk-revival-over/ ↩

  180. Pearis, Bill. "The Fall wrote the blueprint for the current post-punk revival. Here's 15 of their best songs". BrooklynVegan. Retrieved 16 December 2024. https://www.brooklynvegan.com/the-fall-wrote-the-blueprint-for-the-current-post-punk-revival-heres-15-of-their-best-songs/ ↩

  181. "Is the new post-punk revival over?". faroutmagazine.co.uk. 14 January 2022. Retrieved 16 December 2024. https://faroutmagazine.co.uk/is-the-post-punk-revival-over/ ↩

  182. Schonfeld, Zach (13 October 2021). "The Eternal Cool of Talk Singing". The Ringer. Archived from the original on 13 September 2022. Retrieved 26 December 2022. https://www.theringer.com/music/2021/10/13/22723195/talk-singing-dry-cleaning-rock-black-country-new-roads ↩

  183. Beaumont, Mark (10 September 2019). "Mark, My Words: I give you crank wave, the start of the subculture revival". NME. Archived from the original on 7 October 2022. Retrieved 22 November 2022. https://www.nme.com/blogs/nme-blogs/mark-words-welcome-crank-wave-start-subculture-revival-2545963 ↩

  184. "Black Sky Thinking | Idle Threat: Who Are The True Champions Of DIY Rock In 2020?". The Quietus. 26 November 2019. Archived from the original on 9 October 2023. Retrieved 22 November 2022. https://thequietus.com/articles/27491-speedy-wunderground-year-4-compilation ↩

  185. Perpetua, Matthew (6 May 2021). "The Post-Brexit New Wave". NPR. Archived from the original on 4 June 2021. Retrieved 22 November 2022. https://www.npr.org/2021/05/06/993931617/new-wave-post-punk-brexit-squid-dry-cleaning-black-country-new-road ↩

  186. "The Brixton pub that became the centre of innovative music whynow". whynow. 29 October 2020. Retrieved 4 May 2025. https://whynow.co.uk/read/tim-perry-windmill ↩

  187. Megathlin, Kate. "Change The Record: Squid – Cowards – The Seattle Collegian". Retrieved 4 May 2025. https://seattlecollegian.com/change-the-record-squid-cowards/ ↩

  188. Kelly, Laura (12 October 2023). "How London music venue The Windmill made Brixton a mecca for the best new bands". Big Issue. Retrieved 4 May 2025. https://www.bigissue.com/culture/music/the-windmill-brixton-london-music-venue-watch/ ↩

  189. "Inside the raucous new south London guitar scene". The Independent. 23 June 2020. Retrieved 4 May 2025. https://www.the-independent.com/arts-entertainment/music/features/black-midi-guitar-bands-south-london-brixton-windmill-squid-black-country-new-road-a9575081.html ↩

  190. Wolf, Dylan (13 February 2025). "Squid's 'Coward' is a pleasantly unique blend of sounds". The Ramapo News. Retrieved 4 May 2025. https://www.ramaponews.com/2025/02/13/squids-coward-is-a-pleasantly-unique-blend-of-sounds/ ↩

  191. Singh, Jay (19 November 2020). "'What Can I Do' is a no-holds-barred introduction to Heartworms' beguiling post-punk". The Line of Best Fit. Retrieved 10 February 2025. https://www.thelineofbestfit.com/new-music/discovery/heartworms-what-can-i-do ↩

  192. "Next Wave #1153: Heartworms". Clash. 4 January 2024. Retrieved 10 February 2025. https://www.clashmusic.com/next-wave/next-wave-1153-heartworms/ ↩