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F42578f8ec5152760301fcc626fdb8c6.Pdf 2007/2017 | POST-PUNK Post-punk was never a sound. Or at least, it was way too many sounds to be boiled down to a single aesthetic. What tied those many sounds together was an adventurous, seeking spirit. It was music often made by young people, but it wasn’t youth music per se, striving for themes and sounds that were less ephemeral than most popular music. I’ve always thought of it as a flourishing that lasted from about 1978-1982 before passing the torch to other music (though a lot of post-punk and new wave musicians continued to do fantastic work). And that was that--the music continues to surprise and excite us, but it was finite. That understanding was recently massively shaken up, when I met Dave Cantrell, whose Songs From Under the Floorboard radio show on XRAY.fm and Out From The Shadows music festival in Portland, Oregon unabashedly use the term “post-punk” to refer to an active musical culture, with no qualifiers like “neo” or “revival” necessary. I was skeptical, sound unheard, expecting it to be a shallow exercise in aping the sounds of post- punk without engaging the animating spirit at its core. But Dave is an “original” post-punk, who was “there” in London, late 70s/early 80s, meeting the bands, experiencing post-punk first-hand as I never could (I was born in 1980) as a living culture. So if he felt so sure that this current-day “post-punk” needed no qualifiers, I had to give it a shot. A few weeks later, and the result is this seven-mix, 130-act, eight-hour ‘Post-Punk: 2007/2017’ set: which should be a give away that my negative assumptions were roundly dispelled. Unlike the ‘1981’ and ‘1979’ boxes and most other Musicophilia mixes, this set isn’t about conveying years or decades-long love of the music it collects. Instead, it’s more a document of a whirlwind love affair. Which means that while the excitement is real, I also recognize limitations here: I voraciously listened to maybe 300 artists, and purchased about 175 albums (so far), and added a few I already loved to get here. So this is surely not an exhaustive overview (and I hope a byproduct of sharing what I’ve found is you’ll tell me all that I missed). Furthermore, it represents my biases toward the weirder and artier and poppier sides of post-punk and away from the serious, gray, Joy Division-dominated side of things, preferences that held true with current post- punk even more so. I don’t doubt the sincerity of those serious young men, but I remain mostly unmoved by the music, which does feel more superficially revivalist in many cases. And I’ll also admit: nothing here is quite yet on par with the pinnacles of ‘78-’82: this generation can’t yet claim a Talking Heads, a This Heat, a Slits, a Family Fodder, a Wire, a Raincoats amongst them--yet. But they might, and soon, as the momentum in this movement seems to have been accelerating over the course of the last decade, rather than burning out. But that’s no insult, as a huge part of what I love about “original” post-punk has always been that as great as its pinnacles were, its brilliance was spread across seemingly innumerable artists of remarkable quality. The post-punk of today definitely has the fecundity of its predecessor, organically sprouting up internationally, all without any great wave of media hype. Excitingly, another aspect post-punk “today” shares with post punk “original” and maybe even improves upon is that women are front and center, leading the way in a solid majority of the best of what’s happening. Musically, it earns the post-punk name in that it draws from many strands and produces many sounds that feel connected by a common spirit more than a pre-defined palette of sounds. For some, the fraught issue of “revivalism” will inescapably color the experience of hearing this music, triggering dismissive feedback loops of the name-the-influence game we music geeks are wont to too often treat as a critical end in itself rather than a useful shorthand. Some may feel post-punk is simply a thing in the past (like it was for me) and these sounds won’t hit home, because, well, you can’t go back again can you? But as I confronted my own preconceptions about post-punk as a singular event with a finite beginning and end, I started to ask myself: if someone couldn’t be “there” in the first place (probably because you weren’t even born yet); but if the excitement remains as vigorous as ever to people encountering its recorded evidence; and if the artists inspired by that excitement understand that what’s important isn’t perfectly recreating a sound but exploring the reasons the sound was worth making--then is what they create really rote “revivalism,” retro, kitsch, and throw-away? Instead, I thought, isn’t it possible for post-punk to be a continuity rather than a moment, given it never committed itself to ephemeral sounds and subjects? Shouldn’t it be possible for pop music to produce living languages (as I’d argue electronic music and hip-hop have done very successfully almost as a matter of course)? We don’t trade out the languages we speak and start from scratch every few years, every micro- generation--not even the most dedicated Modernists ever have--and yet it doesn’t mean we are limited in our expression. The notion of the ever-changing zeitgeist doesn’t negate the fact that cultures are transmitted across time, neither rigidly fixed nor chasing novelty as an end in itself, but rather as evolutionary traditions. While I was totally unaware that a flourishing re-engagement of post-punk’s spirit has been going on for a decade, it actually makes sense that it should continue to bloom. For all its futurist qualities, post-punk’s wide- reaching nature makes it ripe for continual reinvigoration. In fact, even “original” post-punk was part of a continuum of sounds and attitudes that have only partially to do with its namesake “punk”--something I hope to explore in future Musicophilia mixes. This music convinced me not only was it possible, it is happening right now. So all that said, unless newness is the central criterion in your enjoyment of music, I urge you to listen with open ears and I think you’ll be rewarded. Listen as if this were a trove of the sort of undiscovered “original” post-punk that continues to be “discovered” every year. If you find you like it, even some of it, when you dislocate it from time--then isn’t that what’s most important, ultimately? In other words, isn’t being good, and not simply new, what makes music enduring? These young people are making their own music, with their own passions and talents, they’re just not pretending to be starting from scratch. They’re not afraid of looming influence--they’re coming out from the shadows, and they’re unencumbered by rock music’s frequently destructive tendencies toward “authenticity” obsessions on the one hand and worship of temporary novelty on the other. I hope Musicophilia’s listeners can meet them where they are and see, with me, where they go next. I always implore Musicophilia listeners to put their money where their ears are and buy all that they can that they hear and like in our mixes. But that goes double for this set, because all of this music is readily available, and made by currently working musicians. Please, buy the records/tapes/CDs/mp3s, go to the shows, and help these artists take their passion and creativity even further. - Musicophilia, October 2017 2007/2017 | FIRE 01 [00:00] No Zu - “Emotion” (‘Life’, 2012) [Melbourne, Australia] 02 [05:23] Total Control - “Glass” (‘Typical System’, 2015) [Melbourne, Australia] 03 [11:28] Explode Into Colors - “Sharpen the Knife” (“Quilts”, 2010) [Portland, USA] 04 [15:43] Blood Sport - “20202016 V.I.P.” (‘Life In Units’, 2013) [Sheffield, England] 05 [20:11] Plastic People - “Candid Soul” (‘Good As You’, 2010) [Lyon, France] 06 [24:00] Erase Errata - “Another Reason to Arrest & Imprison the ‘Free’” (‘Lost Weekend’, 2015) [Oakland, USA] 07 [25:36] Hdspns - “Was There” (‘Endgame’, 2015) [Auckland, New Zealand] 08 [29:14] Dirty Ghosts - “So Shallow” (‘Let It Pretend’, 2015) [San Francisco, USA] 09 [32:53] Factory Floor - “Here Again” (‘Factory Floor’, 2013) [London, England] 10 [41:00] The Kurws - “Koszmar Gramsciego” (‘Dziur W Getcie’, 2011) [Wroclaw, Poland] 11 [47:07] Naked Lights - “Hedges” (‘On Nature’, 2015) [Oakland, USA] 12 [51:23] Trash Kit - “Shyness” (‘Confidence’, 2014) [London, England] 13 [54:54] Melt Yourself Down - “Release!” (‘Melt Yourself Down’, 2015) [London, England] 14 [59:11] Golden Teacher - “Love Rocket” (‘Bells From the Deep End’ EP, 2013) [Glasgow, Scotland] 15 [63:38] LCD Soundsystem - “Other Voices” (‘American Dream’, 2017) [New York, USA] [Total Time: 70:25] 2007/2017 | AMPLIFIER 01 [00:00] The Estranged - “Faces Stare” (‘The Subliminal Man’, 2010) [Portland, USA] 02 [03:05] Prinzhorn Dance School - “Reign” (‘Home Economics’, 2015) [Portsmouth, England] 03 [07:32] Viet Cong - “Bunker Buster” (‘Viet Cong’, 2015) [Calgary, Canada] 04 [13:08] Massicot - “Seize” (‘Massicot’, 2013) [Geneve, Switzerland] 05 [15:04] Total Victory - “Mistakes Upon Mistakes” (‘English Martyrs’, 2017) [Manchester, England] 06 [17:50] Ötzi - “Six Candles” (‘Ghosts’, 2017) [Oakland, USA] 07 [20:53] Gesture - “Never” (“Gesture” EP, 2016) [Vancouver, Canada] 08 [23:35] Terrible Truths - “See Straight” (‘Terrible Truths’, 2015) [Melbourne, Australia] 09 [26:25] Eagulls - “Opaque” (‘Eagulls’, 2014) [Leeds, England] 10 [29:41] Tunabunny - “Good God Awful” (‘Kingdom Technology’, 2014) [Athens, USA] 11 [30:40] Freak Heat Waves - “Melt In Your Home” (‘Bonnie’s State of Mind’, 2015) [Victoria, Canada] 12 [33:58] Cold Waste - “Ichisan” (‘Primitive’, 2014) [Gainesville, USA] 13 [37:21] Electrelane - “To The East” (‘No Shouts, No Calls’, 2007) [Brighton, England] 14 [42:14] Vats - “Uncanny Valley” (‘Green Glass Room’, 2016) [Seattle, USA] 15 [45:05] Dirt Dress - “Weight” (‘Dlvnvn’, 2012) [Los Angeles, USA] 16 [47:50] Lithics - “Labor” (‘Borrowed Floors’, 2016) [Portland, USA] 17 [49:58] The Dance Asthmatics - “PG” (‘Lifetime of Secretion’, 2015) [Christchurch, New Zealand] 18 [55:43] Cowtown - “Monotone Face” (‘Dudes vs.
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