No New York
Frequently Bought Together
Customers Who Bought This Item Also Bought
Influential, powerful and ground breaking, this collection features four of the top icon-shattering Gotham City's no-wavers like James Chance (Contortions), Arto Lindsay and Ikue Mori (DNA), Lydia Lunch (Teenage Jesus) and Sumner Crane (MARS). This is the first time No New York has ever been released on CD in the West. This digipak version includes a detailed booklet.
The musical legacy of this collection runs right from the Swans and Sonic Youth straight through to Glenn Branca, Jon Spencer and all the current crop of New Wave Of No New Wave outfits (such as The Rapture, Yeah Yeah Yeahs, etc..), burning up hipster dance floors worldwide! 16 total tracks. Also available on vinyl.
Top Customer Reviews
As with all great punk compilations this is really the equivilent of 4 great eps. There is not a weak song on this comp. If you listen to the entire catalogs of each band I think it's fair to say this is the best stuff each band ever did, although I'm not gonna make a big deal about it particularly because each band also did marvelous other releases. TEENAGE JESUS and the JERKS, DNA and Mars each ended up only doing another half hour to an hour's worth of music, all together on some 12"s and 7"s and, come to think of it, none of the three of them even did one album (not counting the reissue albums of recent years that are a collection of their 7"s, eps, 12"s and compilation trax).
Of course, JAMES CHANCE and the CONTORTIONS/JAMES WHITE and the BLACKS did a number of albums over the years, mainly in the 80's and, if you ask me, the earliest ones were the best.
Sure, this isn't hardcore punk. It's not anything I ever heard come out of England or any other punk producing country either (Spain, Finland, Italy, Brasil, Japan, Australia, Canada and, of course, the U.S. among others). This album is filled with that high falutin' high class, sophisticated attitude. It's a New York thing baby. In punk, as in rock 'n roll before big corporate music companies homogonized the U.S.Read more ›
DNA is the classic trio with Arto Lindsay who went on to Brasilian Bosa Nova, beautiful male voiced twinge of crazy git-dom, enough to keep making records every 2 years or so. But in DNA he battered his guitar, the Asian gal on bass sang her guts out and R.L. Crutchfield (right?) played drums and did a mean album or so of his own back in the day. Worth finding and hearing. But as a band, DNA only did like two 7"s and a 12". They've recently released a best of CD and had a Japanese CD release of their last CBGB's gig. Almost painful guitar sound but any fan of TEENAGE JESUS and the JERKS would love it. I still do.
Speakin' of which, Lydia Lunch did her best (only?) guitar work with TJatJ's on every song they ever released. They're famed for only doing like five minute gigs. They lived fast and died young (as a band). I've always considered her guitar work with this band to be the ultimate punk guitar sound. Really quite grating but enjoyable, if, well, yer a bit of a nut and like yer music hard but don't have to have it be hardcore.
JAMES CHANCE and the CONTORTIONS (or is he JAMES WHITE and the BLACKS on this album? I forget) does some of his tighest stuff ever on this album and his band is known for bein' super tight. Funk/sax/attitude with Lydia Lunch in the band which only helps (I assume she's in it on this album).
The album is worth it strictly for these three bands. You could stop there. They'd be three perfect 7" releases. But, no, there's more. MARS.Read more ›
The album is composed of four sets of four songs, each set by a different artist. The first set is James Chance and the Contortions, the second Teenage Jesus & The Jerks, third Mars, and the final four songs are by D.N.A.
What all the artists share is a penchant for noisy, dissonant, confrontational post-punk informed music. However the artists are all quite different in their approaches and personalities.
James Chance and the Contortions' set is a lot of fun. Loud completely out of tune saxes skronk endlessly as Chance spews forth a relentless vocal assault over heavy loopy bass lines. The complete disregard for convention in every sense is what makes this group so captivating; Chance clearly doesn't care what you think.
For me Teenage Jesus and the Jerks is the odd one out in this collection. Their sound is more unrefined than other artists on this disc. To me they sound like a sloppy goth post-punk group. They lack the strong rhythms and high activity of other artists on this disc, instead relying on caustic-creepiness, a stripped-down sound, and singer Lydia Lunch's truly jarring vocal delivery. Not my cup of tea, but I can see why Eno included them from a historical perspective.
Mars is an interesting act.Read more ›
Most Recent Customer Reviews
This collection is a great introduction to what was going on in the underground music and art scene of New York City during the late 70's early 80's.Published 2 months ago by Micheal
Thoroughly inaccessible, which was expected. Really interesting stuff.Published 5 months ago by Andy Fiala
This reissue is actually a remix. Russian label thought the original LP wasn't shrill enough, so they boosted the high end along with volume. Read morePublished 10 months ago by P. Couture
Nice compilation of artists that I had not listened to for years.Published 12 months ago by Larry Deemer
Ah, yes! Here is some "missing link" stuff. Non musicians show musicians thst some time pure noise is the appropriate use for your instrument is voice.Published 19 months ago by David Michael Dinsmore
While I believe this is Lydia Lunch's 'vinyl' debut, it's The Contortions who really make this little collection work. Great taste of No Wave.Published 20 months ago by Kurk Schoner
This is my 5th or 6th copy of this album. 1st time I bought it was in 1979. It's 1 of the CDs I'll either wear out or misplace since I refer to it often. Read morePublished on December 23, 2011 by James Beavers
...but difficult. I bought this one on vinyl but a few years after it acme out. While it is rightly recognized as a classic since it documents Brian Eno's production of the more... Read morePublished on July 10, 2007 by Lovblad