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NYC no wave catalyst James Chance leads [The] Contortions on their skronky ’79 blueprint, a cornerstone of experimental punk/jazz-funk now on its umpteenth reissue
The band’s debut LP ‘Buy’ spies Chance and cohort a few years after their chops on the seminal ‘No New York’ compilation (as famously produced by Brian Eno), tightening up their feral skronk to a needlepoint prong and step under Chance’s agitated yelps and swagger. It’s one of the fiercest, stylish recordings of its era, practically unprecedented and rarely bettered, despite successive waves of imitations.
Charged with drummer Don Christensen’s pointillist strikes and revved up on David Hofra’s bass, the wiry, bent twin guitars of Jody Harris and Pat Place underline and propel their frontman’s brash yowl and sax in nine short sharp shocks including the uber classic, disciplined prang and discord of ‘Controt Yourself’ alongside the spiky freak funk of ‘I Don’t Want To Be Happy’ and something like James Brown on wizz in ‘Bedroom Athlete’. But also making room for the slack-stringed daze of ‘Anesthetic’ and sultry slunk of ‘Twice Removed’.
A forerunner to everyone from ESG to Material, Moin and Powell, it’s every bit essential, innit?
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NYC no wave catalyst James Chance leads [The] Contortions on their skronky ’79 blueprint, a cornerstone of experimental punk/jazz-funk now on its umpteenth reissue
The band’s debut LP ‘Buy’ spies Chance and cohort a few years after their chops on the seminal ‘No New York’ compilation (as famously produced by Brian Eno), tightening up their feral skronk to a needlepoint prong and step under Chance’s agitated yelps and swagger. It’s one of the fiercest, stylish recordings of its era, practically unprecedented and rarely bettered, despite successive waves of imitations.
Charged with drummer Don Christensen’s pointillist strikes and revved up on David Hofra’s bass, the wiry, bent twin guitars of Jody Harris and Pat Place underline and propel their frontman’s brash yowl and sax in nine short sharp shocks including the uber classic, disciplined prang and discord of ‘Controt Yourself’ alongside the spiky freak funk of ‘I Don’t Want To Be Happy’ and something like James Brown on wizz in ‘Bedroom Athlete’. But also making room for the slack-stringed daze of ‘Anesthetic’ and sultry slunk of ‘Twice Removed’.
A forerunner to everyone from ESG to Material, Moin and Powell, it’s every bit essential, innit?
NYC no wave catalyst James Chance leads [The] Contortions on their skronky ’79 blueprint, a cornerstone of experimental punk/jazz-funk now on its umpteenth reissue
The band’s debut LP ‘Buy’ spies Chance and cohort a few years after their chops on the seminal ‘No New York’ compilation (as famously produced by Brian Eno), tightening up their feral skronk to a needlepoint prong and step under Chance’s agitated yelps and swagger. It’s one of the fiercest, stylish recordings of its era, practically unprecedented and rarely bettered, despite successive waves of imitations.
Charged with drummer Don Christensen’s pointillist strikes and revved up on David Hofra’s bass, the wiry, bent twin guitars of Jody Harris and Pat Place underline and propel their frontman’s brash yowl and sax in nine short sharp shocks including the uber classic, disciplined prang and discord of ‘Controt Yourself’ alongside the spiky freak funk of ‘I Don’t Want To Be Happy’ and something like James Brown on wizz in ‘Bedroom Athlete’. But also making room for the slack-stringed daze of ‘Anesthetic’ and sultry slunk of ‘Twice Removed’.
A forerunner to everyone from ESG to Material, Moin and Powell, it’s every bit essential, innit?
NYC no wave catalyst James Chance leads [The] Contortions on their skronky ’79 blueprint, a cornerstone of experimental punk/jazz-funk now on its umpteenth reissue
The band’s debut LP ‘Buy’ spies Chance and cohort a few years after their chops on the seminal ‘No New York’ compilation (as famously produced by Brian Eno), tightening up their feral skronk to a needlepoint prong and step under Chance’s agitated yelps and swagger. It’s one of the fiercest, stylish recordings of its era, practically unprecedented and rarely bettered, despite successive waves of imitations.
Charged with drummer Don Christensen’s pointillist strikes and revved up on David Hofra’s bass, the wiry, bent twin guitars of Jody Harris and Pat Place underline and propel their frontman’s brash yowl and sax in nine short sharp shocks including the uber classic, disciplined prang and discord of ‘Controt Yourself’ alongside the spiky freak funk of ‘I Don’t Want To Be Happy’ and something like James Brown on wizz in ‘Bedroom Athlete’. But also making room for the slack-stringed daze of ‘Anesthetic’ and sultry slunk of ‘Twice Removed’.
A forerunner to everyone from ESG to Material, Moin and Powell, it’s every bit essential, innit?
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NYC no wave catalyst James Chance leads [The] Contortions on their skronky ’79 blueprint, a cornerstone of experimental punk/jazz-funk now on its umpteenth reissue
The band’s debut LP ‘Buy’ spies Chance and cohort a few years after their chops on the seminal ‘No New York’ compilation (as famously produced by Brian Eno), tightening up their feral skronk to a needlepoint prong and step under Chance’s agitated yelps and swagger. It’s one of the fiercest, stylish recordings of its era, practically unprecedented and rarely bettered, despite successive waves of imitations.
Charged with drummer Don Christensen’s pointillist strikes and revved up on David Hofra’s bass, the wiry, bent twin guitars of Jody Harris and Pat Place underline and propel their frontman’s brash yowl and sax in nine short sharp shocks including the uber classic, disciplined prang and discord of ‘Controt Yourself’ alongside the spiky freak funk of ‘I Don’t Want To Be Happy’ and something like James Brown on wizz in ‘Bedroom Athlete’. But also making room for the slack-stringed daze of ‘Anesthetic’ and sultry slunk of ‘Twice Removed’.
A forerunner to everyone from ESG to Material, Moin and Powell, it’s every bit essential, innit?