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Post-punk is a rock music movement with its roots in the late 1970s, following on the heels of the initial punk rock explosion of the mid-1970s. The genre retains its roots in the punk movement but is more introverted, complex and experimental.[1] Post-punk laid the groundwork for alternative rock by broadening the range of punk and underground music, incorporating elements of Krautrock (particularly the use of synthesizers and extensive repetition), Jamaican dub music (specifically in bass guitar), American funk, studio experimentation, and even punk's traditional polar opposite, disco, into the genre.

It found a firm place in the 1980s indie scene, and led to the development of genres such as gothic rock, industrial music, and alternative rock.


Origin of the term

The term "post punk" was used in late 1977 by Sounds to describe Siouxsie and the Banshees[2]. In 1980 Critic Greil Marcus referred to "Britain's postpunk pop avant-garde" in a 24 July 1980 Rolling Stone article. He applied the phrase to such bands as Gang of Four, The Raincoats, and Essential Logic, which he wrote were "sparked by a tension, humour, and sense of paradox plainly unique in present-day pop music."[3]


During the first wave of punk, roughly spanning 1974–1978, acts such as the Sex Pistols, The Clash, The Ramones, Patti Smith, The Saints and The Damned began to challenge the current styles and conventions of rock music by stripping the musical structure down to a few basic chords and progressions with an emphasis on speed. Yet as punk itself soon came to have a signature sound, a few acts began to experiment with more challenging musical structures, lyrical themes, and a self-consciously art-based image, while retaining punk's initial iconoclastic stance.[citation needed]

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