Post-punk revival

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Post-punk revival_table_infobox_0

Post-punk revivalPost-punk revival_header_cell_0_0_0
Stylistic originsPost-punk revival_header_cell_0_1_0 Post-punk revival_cell_0_1_1
Cultural originsPost-punk revival_header_cell_0_2_0 Late 1990s and early 2000s, United States and EuropePost-punk revival_cell_0_2_1
Other topicsPost-punk revival_header_cell_0_3_0

Post-punk revival, also known as garage rock revival, new wave revival, and new rock revolution is a genre of indie rock that developed in the late 1990s and early 2000s, inspired by the original sounds and aesthetics of garage rock of the 1960s and new wave and post-punk of the late 1970s and early 1980s. Post-punk revival_sentence_0

Bands that broke through to the mainstream from local scenes across the world in the early 2000s included the Strokes, the Libertines, the Killers, Franz Ferdinand, the White Stripes, the Kooks, Interpol, the Vines, the Hives, Bloc Party, Arctic Monkeys, the Cribs and Kaiser Chiefs who were followed to commercial success by many established and new acts. Post-punk revival_sentence_1

By the end of the decade, most of the bands had broken up, moved on to other projects or were on hiatus, although some bands returned to recording and touring in the 2010s. Post-punk revival_sentence_2

The genre has seen a resurgence in the late 2010s, with bands such as IDLES, Fontaines D.C., Shame, Preoccupations and the Murder Capital returning to the styles of two decades prior. Post-punk revival_sentence_3

Definitions and characteristics Post-punk revival_section_0

The term post-punk was coined to describe groups who took punk and experimented with more challenging musical structures and lyrical themes, and a self-consciously art-based image, while retaining punk's initial iconoclastic stance. Post-punk revival_sentence_4

In the early 2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock emerged into the mainstream. Post-punk revival_sentence_5

They were variously characterized as part of a garage rock, new wave or post-punk revival. Post-punk revival_sentence_6

Influences ranged from traditional blues, through new wave to grunge. Post-punk revival_sentence_7

The music ranged from the atonal tracks of bands like Liars to the melodic pop songs of groups like the Sounds, popularising distorted guitar sounds. Post-punk revival_sentence_8

They shared an emphasis on energetic live performance and used aesthetics (in hair and clothes) closely aligned with their fans, often drawing on fashion of the 1950s and 1960s, with "skinny ties, white belts [and] shag haircuts". Post-punk revival_sentence_9

There was an emphasis on "rock authenticity" that was seen as a reaction to the commercialism of MTV-oriented nu metal, hip hop and "bland" post-Britpop groups. Post-punk revival_sentence_10

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. Post-punk revival_sentence_11

For garage rock historian Eric James Abbey, these were diverse bands that appropriated (or were given) the label "garage" to gain a degree of credibility. Post-punk revival_sentence_12

AllMusic argued that rather than a revival, the history of post-punk was more of a continuum from the mid-1980s, with scattered bands that included Big Flame, World Domination Enterprises, and Minimal Compact extending the genre. Post-punk revival_sentence_13

In the mid-1990s, notable bands in this vein included Six Finger Satellite, Brainiac and Elastica. Post-punk revival_sentence_14

At the turn of the century, the term "post-punk" began to appear in the music press again, with a number of critics reviving the label to describe a new set of bands that shared some of the aesthetics of the original post-punk era. Post-punk revival_sentence_15

Music critic Simon Reynolds noted that bands like the Rapture and Franz Ferdinand were influenced by the more angular strain of post-punk, particularly bands such as Wire and Gang of Four. Post-punk revival_sentence_16

Others identified this movement as another wave of garage rock revivalism, with NME in 2003 designating it a "new garage rock revolution", or simply a "new rock revolution". Post-punk revival_sentence_17

According to music critic Jim DeRogatis, the Strokes, the White Stripes and the Hives all had a sound "to some extent rooted in Nuggets-era garage rock". Post-punk revival_sentence_18

History Post-punk revival_section_1

Background Post-punk revival_section_2

There was interest in garage rock and elements of punk in the 1980s and 1990s, and by 2000 local music scenes in several countries had bands playing alternative and indie music. Post-punk revival_sentence_19

The Detroit rock scene included the White Stripes and the Von Bondies. Post-punk revival_sentence_20

The city was a crucial stomping ground for Ohio's the Black Keys. Post-punk revival_sentence_21

New York's scene included the Strokes, Interpol, Yeah Yeah Yeahs, TV On the Radio, LCD Soundsystem, the Walkmen, the Rapture, and the Liars. Post-punk revival_sentence_22

In Los Angeles & San Francisco, the scene was centered around Black Rebel Motorcycle Club, Brian Jonestown Massacre, the Dandy Warhols and Silversun Pickups. Post-punk revival_sentence_23

Other countries had their own local bands incorporating post-punk music. Post-punk revival_sentence_24

2001–2006: Commercial breakthrough Post-punk revival_section_3

The commercial breakthrough from these scenes began initially in the UK, and was led by a small group of bands. Post-punk revival_sentence_25

The Strokes emerged from the New York club scene with their debut album, Is This It (2001), which debuted at No. Post-punk revival_sentence_26

2 in the UK and cracked the Top 50 in America. Post-punk revival_sentence_27

The White Stripes, from Detroit, released their third album, White Blood Cells (2001), which charted decently in both the US and the UK, as well as spawning two transatlantic Top 25 singles. Post-punk revival_sentence_28

The Hives, from Sweden, became a mainstream success with their compilation album Your New Favourite Band (2001) which peaked at No. Post-punk revival_sentence_29

7 on the UK charts. Post-punk revival_sentence_30

Also in 2001, Black Rebel Motorcycle Club's debut album hit No. Post-punk revival_sentence_31

5 in the UK. Post-punk revival_sentence_32

The Vines, from Australia, released Highly Evolved in 2002, which was a top 5 success in both England and Australia, and peaked at No. Post-punk revival_sentence_33

11 in the US. Post-punk revival_sentence_34

Along with the Strokes, White Stripes, Hives and others, they were christened by parts of the media as the "The" bands, and dubbed "the saviours of rock 'n' roll", prompting Rolling Stone magazine to declare on its September 2002 cover, "Rock is Back!" Post-punk revival_sentence_35

This press attention, in turn, led to accusations of hype, and some dismissed the scene as unoriginal, image-conscious and tuneless. Post-punk revival_sentence_36

According to Reynolds, "apart from maybe the White Stripes, none could really be described as retro". Post-punk revival_sentence_37

In the wake of this attention, existing acts like Yeah Yeah Yeahs were able to sign to major record labels. Post-punk revival_sentence_38

A second wave of bands that managed to gain international recognition as a result of the movement included Interpol, the Black Keys, the Killers, Kings of Leon, Modest Mouse, the Shins, the Bravery, Spoon, the Hold Steady, and the National in the US, and Franz Ferdinand, Bloc Party, the Futureheads, the Libertines, Kaiser Chiefs and the Kooks in the UK. Post-punk revival_sentence_39

Arctic Monkeys were the most prominent act to owe their initial commercial success to the use of Internet social networking, with two No. Post-punk revival_sentence_40

1 singles and Whatever People Say I Am, That's What I'm Not (2006), which became the fastest-selling debut album in British chart history. Post-punk revival_sentence_41

2007–2010: Decline in popularity Post-punk revival_section_4

As a dominant commercial force, the revival was relatively short-lived. Post-punk revival_sentence_42

By 2007, the initial success of the movement was beginning to subside, leading commentators to discuss its decline as a phenomenon and argue that it had been overtaken by the more musically and emotionally complex music of indie rock bands like Arcade Fire (which, nevertheless, has been characterized by critics as featuring post-punk influences and sound) and Death Cab for Cutie. Post-punk revival_sentence_43

By the end of the decade, many of the bands of the movement had broken up, were on hiatus, or had moved into other musical areas, and very few were making significant impact on the charts. Post-punk revival_sentence_44

Bands that returned to recording and touring in the 2010s included Franz Ferdinand, Arctic Monkeys, the Strokes and Interpol. Post-punk revival_sentence_45

2010s: Resurgence Post-punk revival_section_5

In the late 2010s, post-punk began to experience another resurgence, with bands producing music in the style of 1999. Post-punk revival_sentence_46

Bands such as IDLES from Bristol, Fontaines D.C. from Dublin, Shame from South London, Algiers from Atlanta, and Preoccupations from Calgary have been active in this revival. Post-punk revival_sentence_47

Bands from other parts of Europe that have been part of this revival include Molchat Doma from Minsk and Makthaverskan from Gothenburg. Post-punk revival_sentence_48

A separate, more contemporary approach to post-punk also appeared on the scene in 2019, through bands like Black Midi, whose work incorporates elements of math rock and experimental rock. Post-punk revival_sentence_49

See also Post-punk revival_section_6

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Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/Post-punk revival.