The Shape of Punk to Come: A Chimerical Bombination in 12 Bursts, often shortened to The Shape of Punk to Come, is the third album by Swedish hardcore punk band Refused, released on 27 October 1998[1] through Burning Heart Records.
Although Refused broke up only months after the album's release, The Shape of Punk to Come has since found an audience for the band and largely contributed to their posthumous fame, as well as inspiring many later artists in a wide range of genres.[12][13]Kerrang! magazine listed The Shape of Punk to Come at #13 on their 50 Most Influential Albums of All Time list in 2003.
Overview
This album marked a sharp and conscious departure from Refused's earlier work. The philosophy of the album, expounded in the ample liner notes and encapsulated in the song "New Noise", was that punk and hardcore music could not be anti-establishment by continuing to package revolutionary lyrics in sounds which had been increasingly co-opted into the mainstream. The sound of the record challenged existing punk sensibilities; it can be seen as "punk" at a fundamental level and includes experimental combinations of post-hardcore, post-punk, techno, and jazz sounds.
The album also includes "political interludes" between some songs. The use of more technological sounds or drum and bass music, particularly on The New Noise Theology E.P. which followed the album, is a tactic that various members of Refused have credited to the influence of Philadelphia punk band Ink & Dagger.[citation needed]
Recording
In 2006, producer Pelle Henricsson said of the recording:
We did not use Pro Tools at all. The Shape was recorded on 24 track 2 inch tape and occasional Adats in sync when the 24 tracks wasn't enough. The drums were recorded as grooves and then edited in Soundscape without any grid reference. The whole thing was then bounced back to 2 inch where all guitars and basses were recorded. Same thing with vocals but not "every word" moved around. More like keeping phrases that were within the groove. The Soundscape system we used back then held 12 tracks and was used as a stand alone editing unit. Overall the whole recording had groove as THE key word, maybe that's why it's still a cool record!?[14][better source needed]
The cover artwork imitates the cover of Teen-Age Dance Session (1994) by Rye Coalition, which is of itself a reference to the cover of Teen-Age Dance Session (1954) by Dan Terry.
The song title "Worms of the Senses / Faculties of the Skull" is an allusion to a line from Allen Ginsberg's long poem "Howl".
The opening of “The Deadly Rhythm” also features layered samples of the opening drums, and closing saxophone riff, from a live performance of the same song by Art Blakey and the Jazz Messengers.
"The Deadly Rhythm" features a musical quotation of Bo Diddley's 1959 R&B song "I'm a Man", or - perhaps more arguably - from the saxophone riff in the Art Blakey version of "Night in Tunisia".
The break in "New Noise" samples Colonel Kurtz's famous monologue from the 1979 Vietnam war film Apocalypse Now.
The spoken text at the start of '"Protest Song '68" comes from the opening of the Henry Miller novel Tropic of Cancer.
The title of the song "Refused are Fucking Dead" is a reference to the Born Against song "Born Against are Fucking Dead".
The British magazine Rock Sound gave the album The Shape of Punk to Come the number one spot in the magazine's list of the 100 albums that most influenced the music that Rock Sound covers.
Paramore's song "Born For This" from their 2007 record Riot! features a direct reference to the song "Liberation Frequency" by quoting the lyric "We want the airwaves back." and overlaying it with a modulation of the song's leading melody.[23]
2004 reissue
In 2004, a DVD-Audio version of the album was released, remixed in 5.1-channel Surround Sound. Many of the songs were compositionally altered, some significantly. "Bruitist Pome #5," for example, was thoroughly reworked, while a seven-minute version of "Refused Are Fuckin Dead" transitions into a new second half, which incorporates elements of the Bomba Je Remix of the song. Other songs received new intros or outros.
Reception
In 2003, Kerrang! magazine listed The Shape of Punk to Come at #13 on their 50 Most Influential Albums of All Time list.
In 2005, The Shape of Punk to Come was ranked number 428 in Rock Hard magazine's book The 500 Greatest Rock & Metal Albums of All Time.[24] In 2013, LA Weekly named it the twelfth best punk album in history.[25] In 2015, the Phoenix New Times named it the fifth best political punk album ever.[26]
The album has sold 179,000 copies in the United States as of June 2015.[27]
Track listing
No.
Title
Length
1.
"Worms of the Senses/Faculties of the Skull"
7:05
2.
"Liberation Frequency"
4:08
3.
"The Deadly Rhythm"
3:34
4.
"Summerholidays vs. Punkroutine"
4:01
5.
"Bruitist Pome #5"
1:25
6.
"New Noise"
5:08
7.
"The Refused Party Program"
2:38
8.
"Protest Song '68"
4:32
9.
"Refused Are Fuckin' Dead"
5:08
10.
"The Shape of Punk to Come"
5:06
11.
"Tannhäuser/Derivè"
8:07
12.
"The Apollo Program was a Hoax"
4:13
2010 reissue
In addition to the 12 tracks of the original release, the 2010 reissue, released as a deluxe edition, also included previously unreleased live recordings from a 1998 concert and a DVD of the documentary on the band, Refused Are Fucking Dead.[13]
Disc 2: Live at Umeå Open festival (3 April 1998)
"The Shape of Punk to Come" – 4:38
"The Refused Party Program" – 1:28
"Circle Pit" – 2:48
"Worms of the Senses / Faculties of the Skull" – 5:31
^"Refused: The Shape of Punk to Come". Mojo: 130. This is an album of punk finality, of defiant, left-wing independence... When in range, Refused are as impossible to ignore as they are to deny.
^Jamieson, Sarah (2 September 2007). "Organised-Sound interview with Paramore". www.organised-sound.com. Wolverhampton, West Midlands, England. Archived from the original on 11 January 2009. Retrieved 4 December 2010.
^Best of Rock & Metal - Die 500 stärksten Scheiben aller Zeiten (in German). Rock Hard. 2005. p. 39. ISBN3-89880-517-4.