The Shape of Punk to Come: A Chimerical Bombination in 12 Bursts, often sho… Read Full Bio ↴The Shape of Punk to Come: A Chimerical Bombination in 12 Bursts, often shortened to The Shape of Punk to Come, is the third album by Swedish hardcore punk band Refused, released on October 27, 1998 through Burning Heart Records.
Although Refused broke up only months after the album's release, The Shape of Punk to Come has since found an audience for the band and largely contributed to their posthumous fame, as well as inspiring many later artists in a wide range of genres. Kerrang! magazine listed The Shape of Punk to Come at #13 on their 50 Most Influential Albums of All Time list in 2003.
Overview
This album marked a sharp and conscious departure from Refused's earlier work. The philosophy of the album, expounded in the ample liner notes and encapsulated in the song "New Noise", was that punk and hardcore music could not be anti-establishment by continuing to package revolutionary lyrics in sounds which had been increasingly co-opted into the mainstream. The sound of the record challenged existing punk sensibilities; it can be seen as "punk" at a fundamental level and includes experimental combinations of post-hardcore, post-punk, techno, and jazz sounds.
The album also includes "political interludes" between some songs. The use of more technological sounds or drum and bass music, particularly on The New Noise Theology EP which followed the album, is a tactic that various members of Refused have credited to the influence of Philadelphia punk band Ink & Dagger.
Recording
In 2006, producer Pelle Henricsson said of the recording:
We did not use Pro Tools at all. The Shape was recorded on 24 track 2 inch tape and occasional Adats in sync when the 24 tracks wasn't enough. The drums were recorded as grooves and then edited in Soundscape without any grid reference. The whole thing was then bounced back to 2 inch where all guitars and basses were recorded. Same thing with vocals but not "every word" moved around. More like keeping phrases that were within the groove. The Soundscape system we used back then held 12 tracks and was used as a stand alone editing unit. Overall the whole recording had groove as THE key word, maybe that's why it's still a cool record!?
The album's production has inspired other artists to work with Pelle Henricsson and Eskil Lövström, including Poison the Well, and Hell is for Heroes.
Full article: https://en.wikipedia.org/wiki/The_Shape_of_Punk_to_Come
Although Refused broke up only months after the album's release, The Shape of Punk to Come has since found an audience for the band and largely contributed to their posthumous fame, as well as inspiring many later artists in a wide range of genres. Kerrang! magazine listed The Shape of Punk to Come at #13 on their 50 Most Influential Albums of All Time list in 2003.
Overview
This album marked a sharp and conscious departure from Refused's earlier work. The philosophy of the album, expounded in the ample liner notes and encapsulated in the song "New Noise", was that punk and hardcore music could not be anti-establishment by continuing to package revolutionary lyrics in sounds which had been increasingly co-opted into the mainstream. The sound of the record challenged existing punk sensibilities; it can be seen as "punk" at a fundamental level and includes experimental combinations of post-hardcore, post-punk, techno, and jazz sounds.
The album also includes "political interludes" between some songs. The use of more technological sounds or drum and bass music, particularly on The New Noise Theology EP which followed the album, is a tactic that various members of Refused have credited to the influence of Philadelphia punk band Ink & Dagger.
Recording
In 2006, producer Pelle Henricsson said of the recording:
We did not use Pro Tools at all. The Shape was recorded on 24 track 2 inch tape and occasional Adats in sync when the 24 tracks wasn't enough. The drums were recorded as grooves and then edited in Soundscape without any grid reference. The whole thing was then bounced back to 2 inch where all guitars and basses were recorded. Same thing with vocals but not "every word" moved around. More like keeping phrases that were within the groove. The Soundscape system we used back then held 12 tracks and was used as a stand alone editing unit. Overall the whole recording had groove as THE key word, maybe that's why it's still a cool record!?
The album's production has inspired other artists to work with Pelle Henricsson and Eskil Lövström, including Poison the Well, and Hell is for Heroes.
Full article: https://en.wikipedia.org/wiki/The_Shape_of_Punk_to_Come
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The Shape of Punk to Come
Refused Lyrics
Liberation Frequency It's coming through the air for all of us to…
New Noise Can I scream? Yeah We lack the motion to move to…
Protest Song '68 To sing you must first open your mouth You must have…
Refused Are Fucking Dead Beyond ability & control we could be weekend lovers Steal a…
Summerholidays Vs. Punkroutine I'm tired of losing myself to some stupid childhood dream Of…
Tannhäuser / Derivè So where do we go from here? Just about anywhere. Disorienta…
The Apollo Programme Was a Hoax Petrol bombs and barricades Anything to have our say Consequ…
The Deadly Rhythm ["We got more coming, right now. There's more coming. We're …
The Refused Party Program This is the pulse - This is the sound. This is…
The Shape of Punk to Come Hey baby you never felt this good Freedom through the stereo…
Worms of the Senses / Faculties of the Skull I took the first bus out of coca-cola city 'Cause it…