Louder, faster, angrier, and harder than punk ever sounded, second-wave punk in 1979 Britain kept the core instrumental ingredients but used and produced them in ways that boiled off any subtleties or sophistication.
In her history of women in punk music, Revenge of the She-Punks, Vivien Goldman hefts the scene's virtues and the vices into one heap and concludes that some of it was necessary, some of it was fun, and some of it was evil.
This time we have shadowy, soulful house with a UK garage twist in the form of Quiet Man X Joy Anonymous, stuttering funk from Skinny Pelembe, downtempo synthpop from CC Honeymoon, fiery punk 'n' roll from Eyesore & the Jinx, and glam-infused psychedelia from Benedict Benjamin.
The first three albums from groundbreaking punk/post-punk band Wire still serve as a benchmark for what punk rock could be at its best as well as where underground music would go in the decades that followed.
Combining his punk ethos and tech savvy in this new online archive, Neil Young has to choose what archival releases add new understanding, new angles on the story, new points of emphasis in his own history -- and which do not.
The Split Seconds channel their experiences into a tough, street savvy mix of the crisp, melodic punk power of the Buzzcocks, the working class spirit of Stiff Little Fingers and the activism of the Clash.