REFUSED - The Shape Of Punk To Come

Refused was a hardcore punk band from Umea, Sweden, formed in early 1991. The band released 3 albums between 1994-1996. This Just Might Be the Truth in 1994, Songs to Fan the Flames of Discontent in 1996, and their most definitive and final album The Shape of Punk To Come in 1998, which has been lauded as “the most influential hardcore album of all time." Rage Against The Machine guitarist Tom Morello once described the record as "one of the great rock jams of all time,” and helped change the game forever influencing a range of genres still to this day.

The record took the foundation of American hardcore and added elements of free jazz and techno to form a unique amalgam of music. From the explosive, off-time opener “Worm of the Senses,” to the freefall jazz drop-outs of “The Deadly Rhythm,” and to the jaw-dropping hardcore anthem “New Noise,” that after a decade has somewhat inexplicably became the band’s most popular song.

The Shape of Punk to Come was way ahead of its time, and did not become popular until after the demise of the band, shortly after the release of the album. Refused frontman Dennis Lyxzen stated, “We were one of those bands who rubbed a lot of people the wrong way when we were around. So it made perfect sense that we would have to break up to be popular. “To me,” he adds, “It’s a fitting legacy.”

Refused was one of those bands that til’ this day people are still discovering. I did not discover them until 5 years after they had broken up, and thought to myself when I first heard them, “wow, they should have been a lot bigger than they were when they were still around.” You can definitely hear the influence of Refused's music in modern day emo/post-hardcore bands such as Thursday, Thrice, and Underoath to name a few.

Refused - The Shape Of Punk To Come Podcast

Peer Comment

I agree with Ben saying “I respect anyone who is ahead of their time and has the disregard for what is or isn’t popular and just makes the music that they want to make in the name of art and not money.” However, I disagree when Ben says “I find it interesting that Kraftwerk faded back into the shadows once their style of music finally started to become popular. That is the trait of a true artist in my opinion.” In response to that, to veer away from a sound that you created for the simple fact that it has become popular is just plain stubborn. Who cares if now all of the sudden your music has become popular. That’s a good thing. That means you created a sound that made an impact on people. As long as you’re creating music that makes you happy, what does it matter if at one point it becomes popular to the masses? “Trying” to be different is just as trendy as trends themselves.

Electronic Artist/Composer - Nine Inch Nails

Nine Inch Nails were the most popular industrial rock group ever, and were largely responsible for bringing the music to a mass audience. Nine Inch Nails was founded in 1988 by Trent Reznor, the main producer, singer, songwriter, and multi-instrumentalist for the group. Reznor is the only sole member of Nine Inch Nails, but is supported in concert by a live backing band.

Nine Inch Nails produced several highly influential records in the 1990’s that achieved widespread popularity such as Pretty Hate Machine (1989), Broken EP (1992), The Downward Spiral (1994), and The Fragile (Left)/The Fragile (Right) (1999). They would later be followed with albums such as With Teeth (2005), Year Zero (2007), Ghosts I-IV (2008), and The Slip (2008). Many Nine Inch Nails songs went onto becoming radio hits. Two Nine Inch Nails songs won Grammy Awards, and have reached record sales exceeding over 20 million albums worldwide with 10.5 million sales certified in the U.S. alone. In 1997, Reznor appeared in Time magazine's list of the year's most influential people, and Spin magazine described him as "the most vital artist in music.”

Reznor wrote melodic, traditionally structured songs, but with harsh electronic beats of industrial music, which sounded very mechanical at times. However, the lyrics are the focal point of the music, and Reznor's singing is very dynamic and frequently moves from whispers to screams. Nine Inch Nails' music occasionally features complex time signatures, most notably in The Collector from the album With Teeth, and concert favorite March of the Pigs. Reznor also uses noise and distortion in his song arrangements, and incorporates dissonance with chromatic melody and/or harmony.

As a listener, I’m more of a fan of earlier Nine Inch Nails albums such as Pretty Hate Machine and The Downward Spiral, but have an appreciation for all of their records. Nine Inch Nails has definitely influenced many newer artists most specifically in the mid-late 90’s during the “nu-metal era.” The harsh, electronic mechanical-esque industrial sound that has made Nine Inch Nails who they are is made apparent in the music and sound of industrial rock and metal artists such as Marilyn Manson, Static-X, and Fear Factory. 

Electronic Music - Kraftwerk

The music and image of the band Kraftwerk was electronic and experimental. Kraftwerk was formed in 1970 by Florian Schneider (flutes, synthesizers & electro-violin) and Ralf Hutter (electronic organ & synthesisers) in Dusseldorf, Germany. They were pioneers of electronic music in the 1970’s, and are considered as one of the most important and influential bands of their genre. Kraftwerk are often described as “The godfathers of electronic music.” Ralf Hutter and Florian Schneider were the primary members/songwriters of Kraftwerk, and all other members who came and went were just studio musicians. Kraftwerk’s music has been dubbed by the press as “Krautrock.”

From 1974-1981, Kraftwerk released 5 albums, all of which were conceptual albums. Autobahn (1974), Radio-Activity (1975), Trans-Europe Express (1977), The Man-Machine (1978), and Computer World (1981). German producer and engineer Konrad "Conny" Plank was highly significant in the early years of Kraftwerk, and co-produced the first four Kraftwerk albums. Autobahn was Kraftwerk’s fourth album, and reached number 25 on the US Billboard 200 chart. Autobahn was also the final recording Conny Plank would produce for Kraftwerk. Radio-Activity was a bilingual album featuring lyrics in both English and German, and is also a bit more experimental than Autobahn. Radio-Activity was also less successful in the UK and American markets. Trans-Europe Express was their sixth studio album, which differed from the group’s earlier "Krautrock" style focusing on electronic mechanized rhythms as well as taking more of a minimalistic approach. The album was a flop and failed to chart in both the UK and America. The Man-Machine is a build off of Trans-Europe Express, and charted at number 9 in the UK, and 130 on the US Billboard 200. It was also voted at number 96 on Q magazine's list of the 100 Greatest Albums. Computer World was their eighth studio album. The sound of the album is more reliant on computers and vocals, and was deemed by critics as the peak of their career.

One of the characteristics of Kraftwerk’s music that earns them the position of the biggest influence on electronic music was their album concepts. For instance, Autobahn is about the road and driving through the Autobahn, and Trans-Europe Express is about train travel and European connectivity. Kraftwerk’s music was also an influence in Hip-Hop such as the group Afrika Bambaataa & The Soul Sonic Force, who used samples from Trans-Europe Express and Numbers, and interpolated the samples into Planet Rock, one of the earliest hip-hop/electro hits.

Although I’m not too into Kraftwerk or most earlier electronic music in general, I do respect them for being pioneers, and for their minimalistic ideology.

The Beatles - Revolver Podcast

Marvin Gaye - What's Going On

Marvin Gaye was a singer-songwriter, instrumentalist, and a record producer with a three octave vocal range. He had his start as a member of a Doo-Wop group called The Moonglows in the late 50’s, but ventured into a solo career after the group disbanded. He began his career for Motown in 1960, and quickly became Motown’s top selling artist and scored numerous hits during the 1960’s. Also, as being a part-time songwriter for Motown artists during his early years with the label, it proved that he could write and produce his own music without having to rely on the Motown system.

“What’s Going On” was a concept album that consisted of nine songs, featuring introspective lyrics about drug abuse, poverty, and the Vietnam War. The album was basically told from the point of view of a Vietnam War veteran returning to the country he had been fighting for; seeing nothing but injustice, suffering and hatred.

There was some confrontation between Berry Gordy and Marvin Gaye over the track “What’s Going On.” Gordy said it was, "the worse thing I've ever heard in my life." Gaye issued an ultimatum stating that he would cease recording material for Motown until “What’s Going On” was released. A few months later, “What's Going On” was issued without Gordy's knowledge. He was furious. However, when Gordy found out that “What’s Going On” had sold 100,000 records in one day, his attitude changed.

One of the unique signature features of this record that was captured was the Alto Sax part that opens the record, performed by session musician Eli Fontaine. Fontaine had been warming-up, playing enough to feel comfortable. As he signaled that he was ready for a take, Marvin told him to go home, and that they already had what they needed. Fontaine tried to explain that he had just been goofing around, but Marvin replied, "You goof exquisitely. Thank you." Another unique signature feature was the background vocals and studio chatter, which was the work of amateurs and a group of buddies that included two members of the Detroit Lions football team.

As a listener, “What’s Going On” is a classic r&b/soul album that encompasses everything that a lot of modern music lacks today on a musical, lyrical and sonic production standpoint; emotion and honesty. As an industry professional, the confrontation between Berry Gordy and Marvin Gaye over the release of “What’s Going On,” and Gordy’s resistance in releasing the album is a prime example of what currently goes on in the music industry today. One can only imagine how many great albums have been shelved by these record label schmucks who don’t know a god darn thing about music.

The Velvet Underground & Nico

Hailing from New York City, The Velvet Underground was the most influential rock band of the 60’s, and playing together for only four years from 1966 to 1970. They were one of the first rock groups to experiment heavily by incorporating avant-garde influences. Their sound was dark, noisy, very raw, and difficult to listen to at times, and their lyrical content consisted of overt descriptions of topics such as drug abuse, prostitution, sadism and masochism, and sexual deviancy. The Velvet Underground would later influence many artists in the punk, noise rock, and alternative genres.

The primary songwriters in The Velvet Underground were singer-guitarist Lou Reed, and avant-garde Welsh musician, composer-singer John Cale. John Cale took up his musician studies at The Bernstein Scholarship, and was influenced greatly by his work with La Monte Young, John Cage, and the early Fluxus movement. Much of the The Velvet Underground’s sound was conceived by John Cale, who stressed the experimental qualities of the band, and thought his sensibilities meshed well with Lou Reed’s, who experimented with alternate tunings. Through Reed’s experimentation of alternate tunings, he invented the “Ostrich Tuning,” which consists of all strings being tuned to the same note. The method was utilized on the songs “Venus in Furs” and “All Tomorrow’s Parties.”

The Velvet Underground were supported, promoted, and produced by American painter, printmaker, and filmaker Andy Warhol. Andy Warhol’s goal for The Velvet Underground was to combine three elements such as music, art, and films. However, his only real participation in the album's production was providing funding for studio time.

One of the characteristics of The Velvet Underground & Nico album that set it apart from other popular recordings of the mid-60s was the pairing of art and pop music due in part to their relationship with Andy Warhol, their mentor/manager. Another characteristic would be their lyrical content, which were dark and poetic, yet simplistic; talking about drug abuse, prostitution, sadism and masochism, and sexual deviancy.

As an industry professional, I can understand how their music was popular amongst the anti-pop culture, but as a listener, The Velvet Underground & Nico is a bit off the wall and discordant for my taste. The guitars were way out of tune, the vocals sound very lazy and monotonous, the performance sounded “loose” at times, and the music overall is just too noisy and rackety, in my opinion. 

The Beatles - Revolver

The Beatles’ music prior to their 1965 album Revolver was catchy pop and folk classics about romantic love as well as songs celebrating sex and sexual love. On Revolver, all three songwriters of The Beatles such as Paul McCartney, John Lennon and George Harrison, went beyond writing simple love songs. Rather than writing songs about "holding hands" and "one night stands," Revolver explores loneliness in songs such as “Eleanor Rigby” and “For No One," innocence in “Yellow Submarine” and “Here, There and Everywhere,” and dream-state in “Tomorrow Never Knows” and “I’m Only Sleeping.”

The psychedelic drug LSD (acid), Indian Music, and Art are three distinct approaches from which shaped the music and lyrical content of Revolver. Lennon and Harrison first encountered LSD during the Rubber Soul album, but the drug usage was not apparent in the music or lyrical content of Rubber Soul. Although, Paul McCartney did not take LSD until much later, he was able to evoke aspects of the experience when writing the track "Yellow Submarine," and when helping to shape the quintessential evocation of an LSD trip, "Tomorrow Never Knows."

During the recording of Revolver, Geoff Emerick experimented with new recording techniques such as close mic'ing and ADT, which stood for Automated Double Tracking. ADT allowed for a track to be doubled with out being recorded live. A first of it's kind. Other technologies that were employed on Revolver were Leslie-speaker vocal treatment, tape loops, distorted guitar loops, and sped-up guitars.

One of the innovations found on Revolver is the track "Yellow Submarine," which incorporated the use of special fx and sound design. In the first verse right after the line, “So we sailed into the sun,” you hear the sounds of an ocean in the background. In the second verse right after the line, “And our friends are all aboard,” you hear the sounds of people in a pub. Then in the line “And the band begins to play,” you hear a marching band performing. Another song such as "Tomorrow Never Knows" was one of the first songs in the emerging genre of psychedelic music, which included such groundbreaking techniques as reverse guitar, processed vocals, and looped tape effects. John Lennon has described the vocal sound that he envisioned for the track "Tomorrow Never Knows" as Dalai Lamas chanting from a Mountain Top. As a listener, I’ve always been a fan of The Beatles from their earlier, catchy pop era to their later more psychedelic, experimental work such as Revolver and Magical Mystery Tour.

Although Revolver is not one of my more favorite records from The Beatles, I still have the utmost respect for it. The music, lyrical content, studio innovations, and sonic quality were ahead of it’s time. -Revised 10/25/10

The Beach Boys - Pet Sounds

The Beach Boys’ music prior to their 1966 album Pet Sounds was a celebration of California culture of sun, sand, surf and automobiles. The Beach Boys were the sound of the 60’s from 1966 to 1967. Their music was a colorful amalgamation of pop and rock sounds which painted a picture of beach and surf imagary. The Beach Boys’ music was also very rich in layers of vocal harmonies. The “surfing” theme is what gave them their unique sound as well as brought them success with The Beach Boys' mastermind Brian Wilson, the principle writer, arranger and producer for The Beach Boys.

The Beatles’ 1965 release of Rubber Soul in America is challenged and inspired Brian Wilson to write and record the 1966 classic, Pet Sounds. The Beatles’ Rubber Soul was a solid, consistent record of great songs that weren’t just singles with a bunch of fillers. Inspired by Rubber Soul, Brian Wilson put forth his efforts to write a record that would top Rubber Soul. An album with no fillers, and every song had to be a part of a larger piece.

Wilson realized he would also need a new songwriting partner to help him achieve that. Wilson met a young advertising writer named Tony Asher. He thought Tony was a pretty sophisticated and articulate guy, and figured he might be able to write good lyrics. What sets Pet Sounds apart from the other popular recordings of the mid-60’s is the overall “sound” of the album. Brian Wilson pushed himself to expand beyond the beach and surf themes of their past hits, and created tunes that turned out to be tale of young love in songs such as “Wouldn’t It Be Nice” and “Caroline, No.” The accompanying music was equally daring with avant-garde string and horn arrangement enhanced by unorthodox instruments such as a theramin, bicycle bells, and makeshift percussion.

As a native of California and as a listener, I have never been fond of The Beach Boys, and their beach and surf vibe. Although, Pet Sounds veered away from the sound of their past hits, I still cannot get into The Beach Boys. I can’t quite explain into detail why. Their music just annoys me. As an industry professional, I have respect for their innovation of mashing rock and pop with surf themes. There’s definitely no one else like The Beach Boys. Their music was groundbreaking for the time. I'm just not a fan.

Welcome

Hey, I'm Roger. I was born & raised in Los Angeles, CA.


As far as my musical interests goes, it would take forever to list them out. However, I can say that I don't keep up with most current music these days, because most of it is lifeless and just plain awful, in my opinion. My Top 5 favorite artists are: Pantera, Motley Crue, The Police, Michael Jackson & John Mayer.


I've spent 6 years of my life playing guitar in a touring punk/metal band from 1999-2005. I've toured the entire U.S. & Canada more times than I can count on both hands. I've also spent 5 years of my life as a touring guitar tech/bass tech for Major & Indie artists from 2003-2008. I am very fortunate and grateful to have had these great experiences, but alas...all good things must come to an end.


Nowadays, my focus is in audio post production for film. I love movies, going to the movies, and just love the process that goes into implementing audio to Film. My goals & dreams are to have a career as an audio post production engineer.