Post-punk

Post-punk (originally called new musick) is a broad genre of music that emerged in late 1977 in the wake of punk rock. The term was coined by Jon Savage in November 1977. Post-punk musicians departed from punk's fundamental elements and raw simplicity, instead adopting a broader, more experimental approach that encompassed a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and do it yourself ethic but determined to break from rock cliches, artists experimented with styles like funk, electronic music, jazz, and dance music; the production techniques of dub and disco; and ideas from art and politics, including critical theory, modernist art, cinema and literature. These communities produced independent record labels, visual art, multimedia performances and fanzines.

The early post-punk vanguard was represented by groups including Siouxsie and the Banshees, Wire, Public Image Ltd, the Pop Group, Magazine, Joy Division, Talking Heads, the Raincoats, Gang of Four, the Cure, and the Fall. The movement was closely related to the development of ancillary genres such as gothic rock, neo-psychedelia, no wave, and industrial music. By the mid-1980s, post-punk had dissipated, but it provided a foundation for the new pop movement and the later alternative and independent genres.

Etymology

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Former Sounds writer and music journalist Jon Savage is credited with the earliest known use of the terms 'post-punk' and 'new musick'.

Post-punk is a diverse genre that emerged from the cultural milieu of punk rock in the late 1970s.Template:Refn 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. The earliest recorded use of the term 'post-punk' appeared in the November 26, 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.

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.Template:Refn 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.Template:Refn 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. 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.

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Simon Reynolds' 2005 book Rip It Up and Start Again is widely referenced as post-punk doctrine.

The writer Nicholas Lezard described the term "post-punk" as "so multifarious that only the broadest use ... is possible". 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. 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. Music historian Simon Goddard wrote that the debut albums of those bands layered the foundations of post-punk.

Simon Reynolds' 2005 book Rip It Up and Start Again 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. Wilkinson characterised Reynolds' readings as "apparent revisionism and 'rebranding'". 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".Template:Refn 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. Reynolds defined the post-punk era as occurring roughly between 1978 and 1984. He advocated that post-punk be conceived as "less a genre of music than a space of possibility", 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'". AllMusic employs "post-punk" to denote "a more adventurous and arty form of punk".

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

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, driving 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

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. 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. Artists defined punk as "an imperative to constant change" rather than a standardized template, believing that "radical content demands radical form". Though the music varied widely between regions and artists, the post-punk movement has been characterised by its "conceptual assault" on rock conventions.

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. 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.

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Brian Eno's art rock solo albums Here Come the Warm Jets and Taking Tiger Mountain (By Strategy) would prove heavily influential to the post-punk movement, particularly the 1974 track Third Uncle (later covered by Bauhaus).

Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Roxy Music and David Bowie.Jon Savage, who is credited with the earliest known usage of the term “post-punk” in 1977, 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. Other previous musical styles such as art pop, garage rock, psychedelia and music from the 1960s were also influential.Template:Refn While Captain Beefheart's polyrhythmic and angular sound became foundational to PiL and Devo. 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 them while bands like Swell Maps,This Heat, MX-80 Sound and Magazine 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”.Template:Refn Avant-garde jazz and free jazz also stood out as influences, highlighted by releases like Miles Davis' On the Corner.

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, while electronic band Kraftwerk 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.

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David Bowie and Iggy Pop, while in Berlin, recorded their art rock albums, which became influential to the post-punk movement.

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, produced by Bowie was a crucial influence on Joy Division's Ian Curtis. 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".

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. Throbbing Gristle's independent label Industrial Records would become a hub for this scene and provide it with its namesake.

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American rock band Television in a 1977 publicity photo promoting their debut album, Marquee Moon, a foundational influence on post-punk.

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 Devo and Pere Ubu who were among the earliest groups to be described as post-punk and performing in the style. San Francisco bands like The Residents 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.

Background

On June 4, 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.

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A photo of the Sex Pistols playing the Manchester Lesser Free Trade Hall on June 4th, 1976, the gig which would inspire the formation of Joy Division, The Fall, Buzzcocks, and The Smiths, as well as Factory and Creation Records.

As punk rock made it's commercial breakthrough in 1977, post-punk artists were initially inspired by punk's DIY ethic and energy, but ultimately became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, and self-parody. 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, funk, electronic music, disco, noise, world music, and the avant-garde.

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

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.

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.”

Many of the groups later associated with post-punk—such as Television, who released “Little Johnny Jewel” in 1975, and Pere Ubu, who followed with “30 Seconds Over Tokyo” 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 Residents—though operating outside of the punk scene—garnered more attention during the post-punk era and would later become loosely associated with the scene.

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).Template:Refn

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), and Fast Product (co-founded by Bob Last and Hilary Morrison). 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. 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.

1977–1979: early years

United Kingdom

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Siouxsie and the Banshees with the Cure. The two groups frequently collaborated.

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. 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". John Robb argued that the first Banshees gig, on September 20th, 1976 was "proto post-punk", comparing the rhythm section (which featured pre-Sex Pistols Sid Vicious on drums) to PiL's Metal Box released three years later.

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, creating a music being "cold, machine-like and passionate at the same time". 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.

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. In May, Lydon formed the group Public Image Ltd with guitarist Keith Levene and bassist Jah Wobble, the latter who declared "rock is obsolete" after citing reggae as a "natural influence". 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."

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, 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. 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. The unorthodox studio production techniques devised by producers such as Steve Lillywhite, 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. 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.

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. 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.

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. 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. 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. Other styles such as avant-funk and industrial dub also emerged around 1979.

United States

Midwestern groups such as Pere Ubu and Devo drew inspiration from the region's derelict industrial environments, employing conceptual art techniques, 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", 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. Ubu's debut closer Sentimental Journey influenced the glass-breaking on JD's debut closer I Remember Nothing.

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. 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. 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.

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. 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. The former four groups were included on the Eno-produced No New York compilation (1978), often considered the quintessential testament to the scene. 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. 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". Anderson claimed that the no wave scene represented "New York's last stylistically cohesive avant-rock movement".

1980–1984: further developments

UK scene and commercial ambitions

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"—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. 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.

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. 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. 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. 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.

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. 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.

Downtown Manhattan

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Glenn Branca performing in New York in the 1980s

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. 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". 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.

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. 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. Some shifted to a more commercial new wave sound (such as Gang of Four), 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, 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.

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

Later developments

2000s: 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 !!!. Following this a new group of bands that played a stripped down and back-to-basics version of guitar rock emerged into the mainstream, such as the UKs Franz Ferdinand, the Futureheads and Maxïmo Park. These bands were variously characterised as part of a post-punk revival or new wave revival. Their music ranged from the atonal tracks of bands like Liars to the melodic pop songs of groups like The Sounds. 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". 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. 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.

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". 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. 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."

Revival in the UK and Ireland

Black Midi performing in 2019.

Black Midi performing in 2019.

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.Additionally, bands are also often being influenced by post-rock. 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. 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 important critical success.

Further reading

• Byron Coley and Thurston Moore, (2008) No Wave: Post-Punk. Underground. New York 1976–1980, Abrams
• Walker, Clinton (1982) Inner City Sound: Punk and Post-Punk in Australia, 1976-1985 Sydney: Wild & Woolley. Template:ISBN
• Walker, Clinton (1996) Stranded: The Secret History of Australian Independent Music 1977-1991, Sydney: Pan Macmillan. Template:ISBN

External links

• Post-punk at AllMusic
• Post-punk essay and sampler by Julian Cope