Dance-punk
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| Dance-punk | |
| Stylistic origins | |
|---|---|
| Cultural origins |
Early 1980s New York, Manchester
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| Typical instruments | |
| Mainstream popularity | appeared in the late 90s but more popular in the early 00's |
| Subgenres | |
| Synthpunk New Rave |
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| Regional scenes | |
| New York, Manchester, Glasgow, London, Los Angeles | |
| Other topics | |
| Punk-funk | |
Dance-punk (also known as disco-punk) is a term for an amalgamation of the conceptual elements and instrumentation of punk rock with the production techniques of dance musics, such as funk, dub, disco, electro, synthpop, house, and techno.
Contents |
[edit] History
In the early 1980s, "dance-punk" described post-punk groups that had adopted a more rhythmic tempo, conducive to dancing. These bands were influenced by disco, funk, or any of the other dance musics popular at the time, as well as being anticipated by some of the 1970s work of David Bowie, Brian Eno, and Iggy Pop, and some recordings by the German groups referred to as Krautrock. British dance-punk groups of the 1980s included the Clash, Public Image Ltd., Gang of Four, New Order, the Slits, Billy Idol, the Fall, Killing Joke, the Cure, Siouxsie and the Banshees, and Sigue Sigue Sputnik. New York City dance-punk included Material, the B-52's, Blondie, James Chance and the Contortions, Cristina Monet, ESG, Liquid Liquid, and Talking Heads. Dance-punk scenes also developed in Germany (Neue Deutsche Welle), France (coldwave), and in Brazil. Early dance-punk has significant overlap with synthpop, electropop, new wave, and some Gothic rock. The genre was generally disliked by American rock fans, as evinced by the Dead Milkmen's mocking "Instant Club Hit (You'll Dance To Anything)".
Dance-punk is closely related to synthpunk such as the Screamers and Suicide, but these bands, while electronically inflected, are not danceable.
As techno became popular in the '80s and '90s, some post-punk bands became influenced by this genre. The Madchester groups of the late 1980s, such as the Happy Mondays, pursued a form of dance-punk inflected by the rave scene. This development was largely appropriated by Britpop groups, such as Blur, and to some degree by Big beat electronica.
Dance-punk re-emerged in New York City in the late '90s with the work of the DFA label and groups such as LCD Soundsystem, !!!, and the Rapture. This scene had some overlap with electroclash. The style was championed by rock- and punk-oriented bands such as Liars and Radio 4, as well as dance-oriented acts such as Out Hud. Other groups, such as !!! and The Rapture fell somewhere in the middle.[1]There has since been a crystallization of musical forms within dance-punk, with Q and Not U exploring aspects of dance-punk, along with post-hardcore and other musical styles.
A recent British off-shoot of this branch is the newly-coined term new rave (evoking both new wave and rave). This genre includes such acts as Klaxons, New Young Pony Club, Hadouken! and SHITDISCO. New rave is a style of dance-punk with greater debt to the Madchester scene and stylistic affinities with rave music.
[edit] The DFA and its influence
DFA could be seen as the center of the dance-punk genre. As well as James Murphy's LCD Soundsystem the label is currently home to The Juan Maclean, Hot Chip (North America only), Shit Robot, Delia Gonzalez & Gavin Russom, Prinzhorn Dance School, Booji Boy High, Shocking Pinks, Holy Ghost!, Hercules & Love Affair, Still Going and Syclops.
The dance-punk genre is somewhat of a resurgence of New York's underground scene circa 1978-1982. Rather than retread, however, the DFA have taken the live dance music of the time and infused the techniques and themes with a modern aesthetic--alternately faster, heavier, dubbier, noisier, and generally more intense than their influences. The DFA's trend towards live musicians and improvisation in dance music has spread in recent years to artists like Death From Above 1979, MSTRKRFT,Tussle, !!!, Out Hud, Moving Units and Tom Vek, and many established House producers have also begun to follow suit.
[edit] See also
[edit] Bibliography
Reynolds, Simon (2006). Rip It Up and Start Again: Postpunk 1978-1984. Penguin. ISBN-10: 0143036726
[edit] Footnotes
- ^ Channel4.com SlashMusic - Chk Chk Chk
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