Refused The Shape of Punk to Come
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- Released: October 1, 2004
- Originally Released: 2004
- Label: Burning Heart
Q - p.1354 stars out of 5 - "Refused reached a peak of intelligence and intensity with THE SHAPE OF PUNK TO COME..."
Alternative Press - 3/02, p.96Included in AP's "Essential Punk Influences '02 Style" - "...A manifesto-driven, techno-punk landmark..."
CMJ - 11/09/98, p.22"...The Shape...is a dark, fierce and proggressive recording that proves punk and hardcore are not a stagnant genre..."
Mojo (Publisher) - p.1114 stars out of 5 -- "Building upon a sonic and sartorial blueprint laid down by early '90s DC crew The Nation Of Ulysses, Refused drew on a plethora of other influences..."
Mojo (Publisher) - p.1304 stars out of 5 - "This is an album of punk finality, of defiant, left-wing independence....When in range, Refused are as impossible to ignore as they are to deny."
Pitchfork (Website) - "Rhythmically, all members are locked-in, feeding off each other's energy and authority."
- 1.Worms Of The Senses / Faculties Of The Skull
- 2.Liberation Frequency
- 3.The Deadly Rhythm
- 4.Summerholidays vs. Punkroutine
- 5.British Poem #5
- 6.New Noise
- 7.The Refused Party Program
- 8.Protest Song '68
- 9.Refused Are Fuckin' Dead
- 10.The Shape of Punk to Come
- 11.Tannhauser / Derive
- 12.The Apollo Programme Was a Hoax
Personnel: Dennis Lyxz‚n (vocals); David Sandstr”m (guitar, melodica, drums); Kristofer Steen (guitar, drums); Jon ?, Jon Br„nnstr”m (guitar, sampler); Torbj”rn N„sbom (violin); Magnus Bj”rklund (cello); Jakob Munck (upright bass); Pelle Henricsson (tambourine).
Audio Mixers: Eskil L”vstr”m; Refused; Pelle Henricsson; Andreas Nilsson.
Recording information: Bomba Je (1997); Tonteknik (1997).
Photographers: Ulf Nyberg; Axel Stattin.
Hardcore punk band Refused opened up and expanded their sound for THE SHAPE OF PUNK TO COME (a take-off on the title of the classic avant-jazz disc by Ornette Coleman, THE SHAPE OF JAZZ TO COME). They've become more sophisticated in their presentation, but still maintain their crunching, take-no-prisoners musical ethic--when they let the guitars kick in, they still manage to deliver a brutal, politically inspired racket.
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