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The Shape Of Punk To Come

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The Swedish hardcore band Refused was formed in 1991 by vocalist Denni Lyxz�n, guitarists Jon Br�nnstr�m and Kristofer Steen, bassist Magnus H�ggren and drummer David Sandstr�m. Debuting in 1993 with the EP This Is the New Deal, the group issued the full-length This Just Might Be...the Truth later that same year. The Everlasting EP followed in 1994, and in ... Read more in Amazon's Refused Store

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Product details

  • Audio CD (24 May 2010)
  • Number of Discs: 1
  • Label: Epitaph
  • ASIN: B00024GVPW
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (20 customer reviews)
  • Amazon Bestsellers Rank: 89,918 in Music (See Top 100 in Music)

1. Worms Of The Senses / Faculties Of The Skull
2. Liberation Frequency
3. The Deadly Rhythm
4. Summerholidays vs Punkroutine
5. Bruitist Pome #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 / Derivè
12. The Apollo Programme Was A Hoax

Product Description

Product Description

Our product to treat is a regular product. There is not the imitation. From Japan by the surface mail because is sent out, take it until arrival as 7-14 day. Thank you for you seeing it.

BBC Review

The recent (expanded) reissue of The Rolling Stones' Exile on Main St prompted widespread reappraising of an album largely dismissed upon its 1972 release. The band's greatest-ever long-player, said a slew of critics. Such a shame, then, that they followed it up with turgid fare far removed from the lean vibrancy of their late 60s and early 70s heyday. If only they'd peaked after Old Shakey had delivered his Cobain-quoted Hey Hey, My My (Into the Black) in 79, with its key line: "it's better to burn out than fade away".

Sweden's Refused certainly fizzed out of existence in a flash, rather than drag themselves across borders and stages 'til every ounce of creativity and enthusiasm was bled from the four-piece. Listening to their final album today, 12 years after both its original release and its makers' acrimonious split, what's most striking is just how little it's aged. Its title, adapted from Ornette Coleman's 1959 classic, was prophetic to say the least: this album's influence can be heard in numerous hard-and-fast rockers in punk and hardcore circles and beyond. But just as Exile... sounds incredibly fresh compared with much of what the Stones conjured subsequently, Shape... positively bleeds vitality in a way that not one of the countless outfits it's influenced has achieved.

The brilliant musicianship is what carries proceedings, what makes this such an indispensable album in the punk/hardcore firmament. Particular praise must go to drummer David Sandström, whose performances are rarely less than breathtaking. The left-leaning politics that comprise the record's lyrical backbone had been heard before, in the work of Washington DC's Nation of Ulysses for example. Refused succeeded where Nation hadn't, though–in terms of a notable legacy, anyway–by mixing their capitalism-smashing messages with an instrumental punch that took what it needed from the jazz world without wholly diluting the aggression that fans had come to expect after two preceding long-players.

Dissent was apparent in the ranks, though, and despite attaining a (slightly) higher level of exposure in the wake of Shape... and its powerful lead single New Noise–"How can we expect anyone to listen / if we are using the same old voice?"–Refused split just weeks after this record arrived in stores, the seeds of dissolution sown during the songwriting process. When I interviewed guitarist Kristofer Steen in 2006, he told me that Shape... didn't work live–a problem, as it was in this area that Refused regularly excelled. His telling words: "It didn't click with our core audience."

But now that audience has swelled to a size that Refused could never have imagined appealing to when they broke up, while on a US tour. To meet this increased demand, Shape... now includes a live disc (featuring comparatively straightforward material from earlier albums) and the 2006 documentary Steen directed on the band's demise, Refused Are Fucking Dead. These extras sweeten the deal, but frankly: if you have any affection for hardcore, punk, or the history and evolution of rock music in general, there's no excuse for not having this genuine landmark album in your collection. --Mike Diver

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Customer Reviews

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Most Helpful Customer Reviews

12 of 12 people found the following review helpful By dynamitekid156 VINE VOICE on 14 Nov. 2006
Format: Audio CD Verified Purchase
The influence of this seminal album, especially now that emo is the zeitgeist, is extremely prominent at the moment. This album is a punk landmark, and its title is prophetic. Released in 1998 after their short, sharp Songs To Fan The Flames Of Discontent, as the liner notes state, it is the sound of a band pulling in different directions, and making the album of their career, before splitting up. Frankly, when you've made an album like this, where could they possibly have gone afterwards?

The album is around twice as long as the last one, most songs are five to eight minutes long and there are several songs with cellos and synthesisers on. It couldn't be much more different to its predecessor. This is no bad thing.

Whereas previously their songs were short blasts of punk extremity, here, the music is heavier, louder and longer. Opener 'Worms Of The Senses/Faculties Of The Skull' sets the scene perfectly. Opening with traffic noises and a soundbite about style, its opening gambit is 'I've got a bone to pick with capitalism/and a few to break.' It's seven minutes long, the last minute of which is a borderline comedic, wandering synth loop. It's punk, Jim, but not as we know it.

The sheer anger on display here seems to put hardcore to shame. Not just due to the segues between most tracks, this album works perfectly both as an hour-long masterpiece and as individual blasts of political hardcore.
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9 of 9 people found the following review helpful By Mr. Robert F. Sargent on 26 Feb. 2005
Format: Audio CD
"The Shape of Punk to Come" cheekily borrows its title from jazz saxophonist Ornette Coleman's seminal album, "The Shape of Jazz to Come". Recorded in 1959, Coleman and trumpeter Don Cherry moved jazz to a different level with the range and infectiousness of their improvisational melodies. Similarly, Refused's witty patchwork of May-day mayhem, though quite an assault on the senses, rewards patience and repeated listening. An album that asks its listener to have a conscience doesn't deserve to be hustled into categories like 'metalcore' or 'hardcore'. Coleman once said, "Jazz is the only music in which the same note can be played night after night but differently each time." Though it's unlikely we'll ever have the pleasure, if Refused, like the Mars Volta, are able to use their recorded material as a depature point for their live set, then "The Shape of Punk to Come" would be truly deserving of its title.
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7 of 7 people found the following review helpful By alkalinetris on 12 July 2005
Format: Audio CD
Okay, I realise it's annoying that most Amazon reviews boil down to people loving or detesting an item, but bear with me on this!
This album is an absolute masterpeice, one of those unifying albums (like Queen, Ramones, etc) that everyone seems to like - no matter what particular genres they're into. From the opening roar of "I've got a bone to pick with capitalism...and a few to break" to the poignant final lines "sabotage will set us free...throw a rock in the machine", the album is like a flaming letterbomb burned to a disk.
Musically the album is astounding. The guitar work is fantastic -technically stunning without sounding pretentious; the drumming and bass are also great but it is Dennis's singing which ties the whole thing together. His furious screams carry more emotion than any number of emo bands could. And then there are the curious sonic experimentations that are scattered throughout.
In conclusion, add this to your basket now and discover your new favourite album.
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5 of 5 people found the following review helpful By A. G. H. Schofield on 4 Sept. 2002
Format: Audio CD amazing and dynamic hardcore group from Sweden,released one of the 1990's best albums in this release.It is simply a work of genius by singer/songwriter Dennis Lyxzen.The albums main single.."new noise"..was a big underground hit in 1998..and it is clear to see why with the songs passionate vocals and fantastically dynamic guitar work
This band quickly worked its way into my list of fave hardcore bands,and i was so disapointed when i heard they split up 4 years ago.The album is a must buy for any fan of hardcore and punk in general,as its raw power and intuition are not to be found anywhere else.This album is a nightmare to get hold of in the uk,but persevere and you will not be sorry.
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4 of 4 people found the following review helpful By "ironyisadeadscene" on 10 Mar. 2003
Format: Audio CD
When people tell you that an album is going to change your life, you dont tend to believe them. It is a claim that is bandied around with ceaseless abandon these days, and so often falls short of the mark. When i heard the band Refused referred to in reverential tones by a number of music journalists, i thought about checking them out. i then promptly forgot. a while later, i miraculously stumbled on a copy of their album "The Shape Of Punk To Come" in a record store, and decided on a whim to buy it. Well, 12 songs later, and i was a different person. the ceaseless sonic invention, surging guitars, and dennis lyxzen's impassioned screams. this album was a pure work of art from start to finish. i spent many a lazy teenage day flicking through the political manifesto in the linear notes, listening to the bands furious musical protest. this was the album that opened my mind, politically and musically. from then on, no more pop chart nu metal tat for me. it was black flag, minor threat, the dead kennedys. refused changed my life for the better. theyll change yours too. believe it.
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