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    A chance to own a very rare (if expensive) Wire related artifact for those completists out there:
    Who were The Art Attacks? Was this session work, or something more?
    My Everybody Loves A History isn't to hand.
    I have the Original 7" Of this on the fresh label released in 1979. Although The track Robert plays on
    was recorded in 1977. They had only played 1 gig at the time. Clearly says on sleeve, Drums Rob Gotobed (now
    in WIRE).
    The Art Attacks were an arty (after a fashion) early punk group that lasted about a year. Their singer Edwin Pouncey was Sounds' Savage Pencil illustrator. Note the illustrator for the item for sale.

    They had rather less depth than wire both musically and intellectually but they had good tunes and some really fun songs and I would love to have seen them live.

    I recommend 'Neutron Bomb', 'Arabs in 'Arrods' and 'I am a Dalek'. There is/was a CD compilation of their limited collected works called 'Outrage and Horror'. I am proud to own a copy of their single 'Neutron Bomb/I am a Dalek' that I bought off their old record label manager who used to be the in house DJ at the long defunct Moonlight Club in West Hampstead.

    I was aware of them myself via an album I bought in 1983 called a 'Fresh Selection' which contained the track 'Punk Rock Stars', the b-side of the above without Robert on drums, although that per-dates my awareness of Wire by a year or so . A compilation album showcasing the Fresh labelmates it's an eclectic mix of punk, pubrock and european new wave acts such as Family Fodder and the Cuddly Toys. The Family Fodder track "Savoir Faire" is a particular favourite that I still play to this day. The Art Attacks track is typical 1977 British Punk and quite tongue in cheek. Good stuff. Time for a reunion tour supporting Wire!
    I've always been rather fond of I Am A Dalek, too.
    Pretty neat 45 if a bit of a period piece.
    If you haven't heard it...

    Talking of the Cuddly Toys...I'm a big fan of the Bolan/Bowie penned Madman.
    Love the handclaps that come in two thirds of the way through!
    The video features some rather extraordinary posing!

    Incidentally, the Art Atacks link took me to this footage of The Killjoys with Kevin Rowland on vocs.
    Don't think I've seen actual footage of them before.
    Not played the Cuddly Toys 7" for years, but listening to it now the vocalist is sooo trying to sound like Bowie, you really want the man himself to've sung it. Tho' by the time this was released ('79?), he'd moved on from glam!

    & on the Art Attacks page, click thru the wonder ATV to The Adverts terrific "One Chord Wonders" & the even better “Gary Gilmore’s Eyes” (with video)! Good job work's quiet today!!!!
    Not familiar with most of these groups, but Family Fodder I do enjoy. The song "Dinosaur Sex" in particular, however silly lyrically (surprisingly clever at points, actually), is structurally genius. And, to boot, they boasted, at one point or another, every major member of This Heat, one of the few bands of the post-punk era who rival Wire for my deepest affections (had The Pop Group's second album been as wonderfully demented as Y or the "We Are All Prostitutes" 7", they would probably take the cake, but, alas, no).
    When did post punk officially end as a epoch or are forever post punk?
    I think that's covered elsewhere on here, but it's a style of '80's music (which covers MANY styles), but that was influenced by punk. After all, you could hardly call Spice Girls, Take that etc 'post punk' tho' it clearly came after punk!
    The "post-punk era" is generally said to have ended around 1984 or 1985... Actually, not too far from when Wire first reformed. Or, less interestingly, when Madonna broke through....

    More specifically, the heyday of post-punk as a (loose) genre/movement very roughly coincides with the "classic" era of PiL (mid-1978 to late 1981), although many of the epochal post-punk bands had either disintegrated or "moved on" at this point, putting the "turning point" somewhere around the time of Ian Curtis' suicide (18 May 1980).

    As for what qualifies as post-punk, the range is pretty vast, although there are some rough journalistic parameters, more defined by attitude (idealistic, arty, brash, forward-thinking, often uncompromising) or even politics (a strong leftish streak, "personal is political" lyrical leanings) than by sound.

    All in all, it's more period (and period-inspired) than sound.