Refused – The Shape Of Punk To Come (A Chimerical Bombination In 12 Bursts)
Label: |
Startracks – BHR MoCliff 013 |
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Format: |
Vinyl
, LP, Album
|
Country: |
Sweden |
Released: |
|
Genre: |
Rock |
Style: |
Post-Hardcore |
Tracklist
A1 | Worms Of The Senses / Faculties Of The Skull | |
A2 | Liberation Frequency | |
A3 | The Deadly Rhythm | |
A4 | Summerholidays Vs. Punkroutine | |
A5 | Bruitist Pome #5 | |
A6 | New Noise | |
A7 | The Refused Party Program | |
B1 | Protest Song '68 | |
B2 | Refused Are Fuckin Dead | |
B3 | The Shape Of Punk To Come | |
B4 | Tannhä / Derivè | |
B5 | The Apollo Programme Was A Hoax |
Companies, etc.
- Pressed By – Audiodisc AB
- Lacquer Cut At – Cutting Room
Credits
- Bass [Upright] – Jakob Munck
- Bass, Cello – Magnus Björklund
- Drums, Guitar, Melodica – David*
- Guitar, Bass, Drums – Kristofer*
- Guitar, Sampler – Jon*
- Lacquer Cut By – PD*
- Recorded By, Producer, Mixed By, Mastered By – Refused
- Tambourine – Pelle Henricsson
- Violin – Torbjörn Näsbom
- Vocals – Dennis*
Notes
The lower right live photo on the front cover of Dennis Lyxzén is unique for this pressing. On later pressings the live photo is changed to a photo of Jon Brännström playing guitar instead. Comes with insert and black inner sleeve.
Mastering studio and - engineer uncredited, identifed by the etched scheme in the matrix runout.
Pressing company uncredited, identifed by the etched name in the matrix runout.
Mastering studio and - engineer uncredited, identifed by the etched scheme in the matrix runout.
Pressing company uncredited, identifed by the etched name in the matrix runout.
Barcode and Other Identifiers
- Barcode: 7391946079209
- Matrix / Runout (Side A, etched): BHR 071 A PD-CR Audiodisc 980121
- Matrix / Runout (Side B, etched): BHR 071 B PD-CR Audiodisc 980121
Other Versions (5 of 49)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
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The Shape Of Punk To Come (A Chimerical Bombination In 12 Bursts) (CD, Album, Stereo) | Startracks | BHR 071, BHR071 | Sweden | 1998 | |||
Recently Edited
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The Shape Of Punk To Come (A Chimerical Bombination In 12 Bursts) (LP, Album) | Startracks | 82001-1 | US | 1998 | ||
Recently Edited
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The Shape Of Punk To Come (A Chimerical Bombination In 12 Bursts) (CD, Album) | Burning Heart Records | 82001-2 | US | 1998 | ||
Recently Edited
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The Shape Of Punk To Come (A Chimerical Bombination In 12 Bursts) (CD, Album) | Shock (2) | BHR 071 | Australia | 1998 | ||
New Submission
|
The Shape Of Punk To Come (A Chimerical Bombination In 12 Bursts) (CD, Album, Promo) | Burning Heart Records | BHR 071 | Sweden | 1998 |
Recommendations
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2000 CanadaVinyl —LP, Album
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Reviews
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Love the album, one of the best. It will never go out of style ;). Perfect sounding record. Compared the original to some american repress by Epitaph, and what to say when the one sounds flawless and the other just sucks giving you much worse experience then the really old MP3s, which you know by heart so you got no doubt. Can ice cream?
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Does anyone know what the numbers after the track names refer to on the back? They don't appear to refer to seconds.
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Still kind of a masterpiece. In response to an earlier review stating that it's not punk as its title states and that punk didn't end up sounding like this, the title is an homage to Ornette Coleman's The Shape of Jazz to Come, which similarly, was not what jazz ended up sounding like. That album was more like "The Shape of Ornette Coleman's Jazz to Come" because he carved such a unique niche for himself that even the most similar artists were not so similar. This album cover too is an homage to jazz album covers from the late 50s and early 60s which was a major turning point in the genre. The title signifies change, transformation, progression.
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They can call it punk in the title, but this is NOT a punk record. It's one thing to have some cross genre fusion elements injected into it for the sake of the evolution of sound, but it's an entirely different thing to throw the baby out with the bathwater, drop even the simplest most basic foundations of punk music and then act like this is how punk is from now on. If it was truly "future" punk as they so boldly implied, it certainly didn't catch on, because even now no real punk sounds anything like that. It's got to look like a duck and talk like a duck to be a duck.
I like the album, but it's not the punk revolution it promised to be. I'm all for musicians breaking the mold and innovation in general but if you call a minivan a sports car, gear heads are going to still call it a minivan despite their ments. -
Correct me if I'm wrong, but there haven't been any remastered CD releases of this album, have there? There's a 96kHz/24bit of the album from the 2010 remaster available from Pono, HDTracks, etc., but I just wanted to confirm that outside of the LP reissues the 2010 remaster isn't available on a physical format?
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Edited 18 years agoQuite possibly the most influential release in the 90's on the current main stream hard rock/metal sound, which can be heard in bands such as The Used, Hawthorne Heights and countless others. This album combined elements of traditional breakdown hardcore with screamo while retaining song composition, the likes that hasnt been seen since the early days of Bad Brains. While "humble" wouldnt describe the bands effort here, they certainly werent above stepping outside the boundaries of the traditional format of the days hardcore elements.
This sociopolitical laden concept album sacrifices nothing in the way of auditory complexity. Songs like "The Shape of Punk to Come" reveal layer after layer of sonic depth. Tracks flow into each other and create a non-stop experience that makes it hard to listen to just one song. The album provides a great commentary on the current climate that is still relevant 10 years after the fact.
Release
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Recently Edited
Recently Edited
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