80s Punk Rock

80's Punk Rock

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Italian Post-Punk 1980-1986 L'ultima Thule

After the topics Australian Rock 1977-1988 and Italian Singer-Songwriter 1971-1977 it is now time to create a third basic discography. There is still talk of national music, in particular music that was followed by a very limited audience at the time of its release on sacred vinyl. Today, which has somehow gone down in history, it is more visible overall, even though it remains - with some easily recognizable exceptions - a question of worship.

Not because the subject itself is particularly complex, since the title tank from which one can draw is certainly not as large as with other genres and / or trends, but because dealing with the music of our house is always associated with unpleasant contraindications in the sense of giving us feedbacks from artists who do not feel that they are being regarded in a way appropriate to their performance.

Especially when, as under these circumstances, the usual principle of "10 + 10" was abandoned because twenty albums seemed exaggerated. Considering how delicate the subject is, it is good to illustrate the stylistic and temporal boundaries as clearly as possible and explain how the term "post-punk" is intended to refer to this series of musical addresses which, while based on the principles of energy and immediacy preached by punk, have interpreted them on a formal level in a much more eclectic tone, leading to interesting hybrid forms:

to point out some of the most famous foreign realities, in short, in post-punk are the first speaking heads, Siouxsie & The Banshees, Cure, Ultravox, Stranglers, Devo, Joy Division, Bauhaus, as well as other gothic bands (or "dark" as you like) and / or electronics that at the turn of 1970 and 80 turned the international scene into a polychrome and fascinating jigsaw pot of imaginative sounds.

These enzymes have obviously also influenced Italy, deeply affecting hundreds of budding artists, urging them to follow in the footsteps of the English Channel and overseas inspirers with more or less personality and taste. As with any grassroots disco, the "boundaries" of the field of action are not arbitrarily set: 1980 is indeed the year of Gaznevada's publication of Sick Soundtrack, the first work to demonstrate the expressive potential of the new indigenous wave without fear of denial, while 1986 included the publication of the monumental 17th King of Litfiba, who was indeed the seal and, according to many, the zenith of quality.

It goes without saying that, for obvious reasons, only groups and albums that can be regarded as part of the post-punk phenomenon were included in the treatment: so it is no surprise or scandal for the absence of Skiantos precursors and hard-core groups (Raw Power, Indigesti, Negazione, Nabat), Garage/Psychodelisch (Not moving, Sick Rose, Birdmen Of Alkatraz, Technicolour Dream) and Rock in the narrower sense (Gang, Boohoos, Rocking Chairs), who also - more or less - operated in the same time span and left a noticeable mark in the history of National Rock.

cccp-fedeli alla linea - affinity - differences between the companion togliatti and us (attack punk, 1986). At least at the time of their first record, Giovanni Lindo Ferretti and Massimo Zamboni's CCCP were still very rough and rough, but various elements - the hypnotic rhythms, the electronic drums, the incredible political and social lyrics that were emphatically declaimed, the attention paid to the visual aspects of the performances - show how much the group was beyond the usual punk understanding.

At first it seemed like the native version of Joy Division, but in a few years the Florentine quartet have managed to create a much more personal sound under the banner of a "rock author", shady and full of velvety tension. The first of three albums in which the guitarist and song writer Federico Fiumani joined the singer Miro Sassolini, Siberia has eight jewels of disturbing and visionary splendour which, despite their atmosphere, are very intense and fascinating and refer to bygone times.

The FRANTI garden of fifteen stones (BluBus, 1986). Together with the CCCP they are the "out of context" of the lot, because for the Stefano bands Giaccone and Lalli Punk is almost immediately an ideal stimulus and no longer a musical one. However, it is impossible not to consider this record - in short, the only real record to be released by the Turin-based ensemble - where angular rock, folk, blues, jazzy and avant-garde merge into stimulating episodes, both intellectually and physically, splinters of a clear and foolish eclecticism.

Rock grit, "art" approach and extraordinary inspiration for an outstanding personality record that, in the eclectic shadow of time, shatters the most diverse stylistic references of the time, from the New Age robotics of talc heads and devo to the avant-garde New Yorkers. Lyrics mostly in English, with only few openings for Italian, sung with dark and choking voice, and music in perfect balance between hardness, iciness, paraanoia and perverted melodies: If the recording didn't exist, correctly, but a little too "packed", it would have become very good.

IITFIBA - 17 re (IRA, 1986). Four pages and sixteen songs, as articulated as they are pulsating with passion, combine rock power, sinister solemnity, philosophical ambitions and some popular melody. Neon of singer and keyboarder Marcello Michelotti has been pioneer of rock-electronic union since the late 70s and has long been the most important group in Florence and one of the leading names in the so-called Italian New Age.

Released in late 1987, but obviously conceived earlier, it is the conclusion of the first phase of the career of Pankow, a Florentine band that has brilliantly anticipated many of the upcoming trends in electronic music with a proposal for an electronic school that is as dark and obsessive as it is stinging and angry. Whatever they may say in Florence, the "new Italian music sung in Italian" was invented in Monza by GianCarlo Onorato's Underground Life, which as early as 1978 enabled the first attempts to fuse our language with the now more excited and romantic and decadent Ultravox school solutions.

It is the first document of the strange scene that has developed in Pordenone's, animated by a few dozen individuals - many of them active in more than one group - dedicated to the bizarre but often effective contamination between rock and electronics.

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