Styles and Characteristics
No Wave is not a clearly definable musical genre with consistent features. Various groups drew on such disparate styles as funk, jazz, blues, punk rock, avant garde, and experimental. There are, however, some elements common to most No Wave music, such as abrasive atonal sounds, repetitive driving rhythms, and a tendency to emphasize musical texture over melody—typical of La Monte Young's early downtown music.
In 1978 a punk-influenced noise series was held at New York’s Artists Space that led to the Brian Eno-produced recording No New York, documenting James Chance and the Contortions, Teenage Jesus and the Jerks, Mars, and DNA.
Sonic Youth made their first live appearance at Noise Fest, a noise music festival curated by Thurston Moore at the art space White Columns in June 1981. Each night three to five acts performed, including Glenn Branca, Rhys Chatham, Rudolph Grey, Robin Crutchfield's Dark Day, Off Beach and others.
No Wave had a notable influence on noise and industrial bands which followed, such as Big Black, Helmet, and Live Skull. Theoretical Girls influenced Sonic Youth, who emerged from the scene and eventually reached mass audiences and critical acclaim.
According to Simon Reynolds, writing for Slate:
And although "affection" is possibly an odd word to use in reference to a bunch of nihilists, I do feel fond of the No Wave people. James Chance's music actually stands up really well, I think; there are great moments throughout Lydia Lunch's long discography, and Suicide's records are just beautiful.
No Wave inspired the Speed Trials noise rock series organized by Live Skull members in May 1983 at White Columns which included, from the UK, The Fall, and from the US, Beastie Boys, Sonic Youth, Lydia Lunch, Elliott Sharp, Swans, the Ordinaires and Arto Lindsay. This was followed by the after-hours Speed Club that was fleetingly established at ABC No Rio.
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Famous quotes containing the words styles and and/or styles:
“Can we love our children when they are homely, awkward, unkempt, flaunting the styles and friendships we don’t approve of, when they fail to be the best, the brightest, the most accomplished at school or even at home? Can we be there when their world has fallen apart and only we can restore their faith and confidence in life?”
—Neil Kurshan (20th century)
“For the introduction of a new kind of music must be shunned as imperiling the whole state; since styles of music are never disturbed without affecting the most important political institutions.”
—Plato (c. 427–347 B.C.)