Customer Reviews

The Shape of Punk to Come: A Chimerical Bombation In 12 Bursts

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I decided to download "The Shape Of Punk To Come" completely on a whim, based solely on the rave reviews I saw on this site. To put it mildly, my decision was vindicated. "The Shape Of Punk To Come" is one of those rare albums that both blow you away upon first listen and then get better with time. It's loosely classifiable as punk, but you certainaly don't need to be a punk fan to enjoy it. Nirvana, schmirvana: Kurt Cobain wouldn't have put out an album this diverse and genre-bending if he had lived to be a million.

I can't even put into words how powerful this album is, how much visceral impact it contains, how much utter steamrolling FORCE it hits you with. Dennis Lyxzen's vocals are often pure venom, the guitars pummel you relentlessly, and David Sandstrom's drumming hits harder than a brick dropped from the top of the Empire State Building. Listening to this album, it's obvious how much energy and conviction was put into each and every song. This is music without rules, without reservations, and without apology. I'd love to play it for the 98-pound, Good Charlotte T-shirt-wearing "punks" I see at the mall just to see the looks on their faces.

What's even more important than anything I've said above, though, is that Refused were intelligent and methodical about their sonic destruction. As its title suggests, "The Shape Of Punk To Come" is a punk album in the truest sense of the word: it's harsh, it's abrasive, and it's rooted in a deep sense of antagonism toward the mainstream. While all that's nice, it doesn't make for a classic album on its own. Fortunately, there's a lot more to "The Shape Of Punk To Come" than stereotypical three-chord, two-minute testosterone fests. Thanks to a level of creativity and musicianship high for any genre but stunning for punk, Refused showed a keen aptitude for composing memorable and interesting songs.

While suffering from no shortage of punkish aggression, this album is also filled to the brim with intense metallic heaviness, and Refused also threw in a few other genres just for good measure. Songs like "Worms Of The Sense/Faculties Of The Skull," "Protest Song '68," and "Refused Are F***in Dead" boast jarring, angular structures that could make a guy with no neck bang his head, but that's not all. The album is filled with melodic, ambient, and even jazzy interludes, providing a nice contrast from the mayhem that's often on display. "Liberation Frequency," my personal favorite, starts out with Dennis's subdued mantra of "We Want The Airwaves Back," and then a barrage of paralyzing shrieks and piercing guitar noise comes out of nowhere. The resulting dynamic is so dramatic you may well need a neck brace after hearing it for the first time. In a strangely fitting move, the band decided to close out the album with an acoustic song, the oddly-titled "The Apollo Programme Was A Hoax." After the insane roller coaster ride preceding it, I kind of like hearing a calmer piece that ends everything on a mellow note.

Listening to these guys, I can't help but think about how tragic it is that they broke up so early, not to mention how tragic it is that I just discovered them about three months ago. Unfortunately bands like Refused are too good to be on the radio, but this is what punk should be. No, scratch that, this is what MUSIC should be: inventive, challenging, uncompromising, and unconcerned with the opinions of the masses. The loss of a band like Refused truly is a loss for music.

Metal riffs and vocals? Techno beats? Seven minute songs? That's not punk!

My first introduction to Refused was seeing the video for "New Noise" on MTV's 120 minutes. For the first minute and a half I thought I was watching a bad techno video.

Then the guitars kicked in and Dennis squealed "can I scream?" and well, I had to change my undies and pick my jaw up off of the floor.

If you're wondering about the style of music, think of Drive Like Jehu teaming up with Unsane and playing Helmet covers next door to a techno club.

I think it must be said that this band DOES owe a sizable creative debt, as it's been mentioned before, to Nation Of Ulysses, for those of you not in the know, NOU was a D.C. hardcore band on the Dischord label in the early 90's and had peers in the burgeoning post-hardcore scene in Fugazi and Jawbox, and released the albums "13 Point Plan To Destroy America," and "...Plays Pretty For Baby." Refused have a lot in common with NOU both in their lyrics (though NOU were less political than Refused) and in the manifesto-style presentation of their music.

Interesting side-note: members of NOU went on to form the Make-Up, which applied their D.C. style punk to soul music, while Dennis of Refused formed the similarily styled International Noise Conspiracy.

It should also be mentioned that in the manifesto printed in the liner notes, the text accompianing "Refused are f***ing dead" are almost verbatim lyrics from the Born Against song "Born Against are f***ing dead."

You could give flak to Refused for borrowing so much from Born Against and Nation of Ulysses, but I'm sure it was done in a sincere tribute to both of those bands, and not a rip-off. I might also add that Nation Of Ulysses and Born Against are two of my very favorite bands ever, and all three bands shared a similar goal: to shake up the stale punk rock scene.

Of course none of these bands really succeeded, for the current punk scene is still rife with NOFX and Screeching Weasel clones, but Refused, NOU and Born Against albums all sell very well by hardcore standards, and will influence punk kids for years to come, I'm sure. Maybe if we're lucky in a few years we'll begin to see the changes these bands wanted to see.

Besides, they could have gone ahead and (shudder) aped the Korn/Limp Bizkit style of rap-metal.

All in all, this is a very good album filled with heavy energetic music, and is well worth what you'll pay for it. Do yourself a favor, though, if you like this, be sure to pick up both Nation Of Ulysses albums on Dischord and both Born Against albums on Vermiform to pick up where Refused were coming from

Now THIS is punk! I know, I know, REAL punk, as defined by the Ramones, the Clash, the Sex Pistols, etc., has been "dead" for quite some time now, and all these pathetic groups that think they're rebels just because they dye their hair weird colors are driving rusty nails into punk's coffin, however...

...REAL punk is truly about being rebellious from the norm. REAL punk bands aren't that well-known (at least at the time--so many people in the '70's had a clue who the Ramones were at first). REAL punk is often politically outspoken.

And here, Refused have--or rather, HAD--all these traits. Led by Dennis Lyxzen (now fronting the [International] Noise Conspiracy), Refused wrote songs about anything from how history books lie (their famous song, "Burn It"), to how they themselves were making a difference in the music world. Just...look at some lyrics online. You'll see what I mean.

Now, for their absolute musical talents.

The subtitle to this CD is "A Chimerical Bombination in 12 Bursts." This is so simply the truth. Here we have songs ranging from (actually talented) straight-out hardcore ("New Noise," one of my favorites), jazz-influenced ("Liberation Frequency" and "The Deadly Rhythm"-on this latter one, just listen to the bridge of the song! Pure jazz!), and often bordering on...techno (like on the latter half of the first track, "Worms of the Senses/Faculties of the Skull," as well as "Brutist Pome #5").

Dennis Lyxzen has quite a range of vocals in his voice; from unbelievably hardcore screams that put all the new "screamo" bands to pure shame, to spoken-word, to falsetto-pitched melodies. This guy is very talented. Again, for more, check out some of his work with the (International) Noise Conspiracy.

Kristofer Steen and Jon Brannstrom: two guitarists that, while they obviously know quite a few things on playing the strings, don't overdo it or rub it in your face. They can be heavy, they can be soft, they play acoustic, electric, whatever!

Magnus Bjorklund, a very talented bassist. He helps pull in some more of the jazzier parts, especially on said bridge of "The Deadly Rhythm," where he plays a standing bass.

...and then there's David Sandstrom, drummer extraordinaire. He can do it all: jazzy, quieter parts; loud, snare-heavy abominations of noise. He's so damn fast, he's...UGH! LISTEN TO THIS MAN PLAY!

Sadly, Refused broke up in 1999, less than a year after completing this album, which to me is their absolute magnum opus. Raid Amazon and your local used stores for this band's music! Other notable albums to get include EVERLASTING, SONGS TO FAN THE FLAMES OF DISCONTENT, and the EP released in conjunction with this album, the NEW NOISE E.P.

CAN I SCREAM!!?

man... this album is so damn invigorating, its like sticking your head out of a window into the coldest most refreshing breeze ever.

Its really hard to believe this album came out in '98 but even more staggering are the ammount of people who have never heard it, but listen to the bands refused had influenced.

This is just pure fist raising danceable absolutely furious hardcore, but there are alot of surprisingly moving moments that arent bent on ripping your head off. When dennis sings " I got a bone to pick with capitalism, and a few to break!" (and his accent only further adds to the enjoyment factor for me...for some reason or other) you just have to scream along. This album is political yeah... but the politics are more from a personal standpoint, speaking of how things such as arrogant dictators, or corporate smothering, and droning thankless full time jobs affect ones life and desires.

I couldnt say enough good things about this record, even the ugly parts make the whole thing so engaging... they are not the most mind bendingly technical musicians, but these kids could play, but alot of the really complex stuff is kind of subtle. the songwriting on this album is so unconventional and refreshing, and completely satisfying, which proves that you really dont have to care about what meshes well together, but emphasise on instinct.

This is one of the rawest and most beautiful moving albums I've ever heard, and its damn catchy at parts too... just buy it. it will grow on you. It makes me want to sabotage a corrupt precinct or something. this is everything you love about rock music... just buy it or steal it or whatever, youd be missing out if you didnt.

Yes, I too was much dismayed upon hearing that Refused had disbanded shortly after this albums release, but then thought, did they have a choice? This album covers so much musical territory so successfully that I don't know what they could have done to top it, hence, any follow up would have been a disapointment. I have read some reviewers suggestions that if one wants "real" punk they should listen to the Germs, Black Flag, OpIvy, etc. These people have clearly ignored the title which professes to be the shape of punk TO COME, not that HAS COME BEFORE. If for some reason you have decided to compartmentalize your muscial interests and consider yourself a "hardcore or punk" fan you will love this album. However, if you are a fan of truly well crafted and powerful music, regardless of genre, you MUST add this album to your music library.

Could this be the greatest album ever made? I believe if it isn't it must come close. Unlike most albums, where it seems the band involved is trying to create a complete album around two or three decent songs "the shape of punk to come" is mind-blowingly awesome from start to finish. Each song is as powerful as the last one. Songs like "New noise", "Tannhauser/derive" and "Liberation frequency" are unlike anything anyone has heard before. Completely breaking the traditions and rules of punk and any other genre for that matter, "the shape of punk to come" steps foot into completely unchartered territory. I mean a ten minute punk song with ochestral violin playing throughout?
Refused disbanded on the eve of this album's release. And I for one think it was possibly a smart move. "The shape of punk to come" is a once in a lifetime album. The music cycle usually goes like this:
1. band release a few e.p.'s maybe a full album or two
2. band releases awesome career high cd
3. band releases follow up cd, usually not as good, but more mainstream, band becomes famous
4. band spends rest of life in mainstream releasing mediocre albums becomes hated by their original fans
If you don't believe me just look at bands like Korn, 311, blink 182 and Limp bizkit. By stopping after "the shape of punk to come" Refused ensured that they would never become a popular, mainstream band. More importantly they in effect 'froze time' in our minds. What i mean by this is that when we think of refused in 20 year's time, we will think back to our last memory of them (circa this album's release) which is subsequently their greatest moment. Whereas when we think of Korn we'll think back to their last woefully mainstream albums rather than the greatness of their self titled debut. I believe this is why Kurt Cobain and Nirvana are considered so great. Cobain killed himself at the peak of his popularity and greatness, and that greatness is how we will all remember him. Had he not killed himself I am sure he would have suffered an Elvis like demise.
Some speculate that Refused intended to split before they made the album, using the song "Refused are f*cking dead" as evidence. If this is true it would explain the bizare experimentation on this album compared to their previous relatively conventional hardcore offerings. Refused had nothing to lose. Bands usually feel the need to obey the rules of their genre ie, punk songs cannot go for more than 3 minutes etc. Refused break all the rules and I think, for me, is what makes this album so great. The fact that Refused are a Swedish band also is significant for me, as almost every other European band tries to mimmick it's American counterparts. Refused did not.
The shape of punk to come is one of the best if not the best album of our times. It blends punk, metal, electronica and various other styles. If you haven't heard it yet, nows a good time to do something about it.

This cd has set the standard for hardcore political punk. Words really cannot describe the energy and emotion that literally pour off of this album. If you like Refused's other works, than you will love this. If you have never listen to Refused before, definately start with this. This is a much more mature album than Songs to Fan the Flames of Revolution. Even if you don't like hardcore music, the messages on this cd can really apply to anyone.

In my opinion, this is one of the overall best cds created in the past 15 years. No other band has really equaled the level that Refused attained on this album.

It's always hard to describe what punk bands sound like, but this is an amazing album. More artsy than their earlier stuff, and the album title is pompous as hell, but they pull it off with style. They have a real talent for songwriting. If you listened to this for the first time and knew something about the intelligent (can't think of a better word) punk sound of recent years, you'd think the refused were pulling together good things about a whole slew of other familiar bands and just refining them. But then you look at the date and realize it came out before those bands had even formed.
It's like the songs were written to be a mix of black metal and bebop, and then given to a punk band to play.
If you're going for a little less artsy, get songs to fan the flames of discontent. That's more riff driven than melody driven, and more pounding than dynamic.

I picked this album up the first week it was out on burning heart records. I don't think there has been a day when it is not in my cd rotation. This is a one of a kind album that uses various instruments to make various sounds that work. Dennis's vocals will blow you away and the sounds that come out of Jon, Kristofer and Magnus are sounds that have made there mark in history already. The guitar and base sounds just move you and then get intense and let you down and bring you right back up again. David hits the drums with grace and power and in a whole the band has put out something speacial, unique and were i come from not heard of. So many new sounds you don't want the album to end. This is another refused album that is hard to put in words but not not hard to listen to and enjoy. So from the biggest refused fan play it loud and play it often let your mind do the talking.

Wow. To be honest, I'm late to the whole Refused bug. "The Shape of Punk to Come" may have been from 1998, but I was not interested in this type of music at the time and didn't even know they existed for another 2-3 years. And from then, the things I heard about them were all positive. And then I was getting into (post)-hardcore, which was where my interest began. I listened to "New Noise" because I heard it was their "classic" tune. I didn't even acquire it until a couple months ago(!)

That being said, I am impressed. The album title is 100% apt, and it's rare for this to happen in punk. While many artists may sing about anti-conformity, several of the bands in the ilk sound similar, and then adding a guitar solo will sometimes be used to make the songs actually stand out. But Refused are a totally different kind of breed. They are kind of like Fugazi, they are punk rockers but they've got all the integrity and creativity that's beyond what some may predict it to be.

Out of all 12 of these songs, not one of these is weak. The awesome electronic instrumental "Brutist Pome #5" is even a highlight on here. The tracks flow in amazingly well and the whole thing was well-written. There is mostly yelling on the album, however, this is not too much of a bad thing, as Dennis also speaks and at times actually will sing, like on the excellent "Summerholidays vs. Punkroutine," a track about the idea of maybe going big. It contains the album's greatest line: "rather be forgotten than remembered for giving in," which in itself should've been seen as a kind of anthem.

Things kick off with speaking, and while it says how classics go out of style, I don't think this will ever be "out of style" for the underground. The lyrics on that track, "Worms of the Senses/Faculties of the Skull," are clearly anti-capitalist, and even though I am not really the most politically-minded, the lyrics are intellegent and that's what drives me to it. NOFX are boring compared to these guys, even if these guys aren't as humorous or anything. At the end of the track there is a "radio station" coming in with this "futuristic" electronic music in the background. That fades out and then you get into "Liberation Frequency," a track that is addictive on here. And throughout, there are ohter interesting moments, like the awesome rhythm section highlighted on the jazzy "Deadly Rhythm," the marching drums of "Protest Song '69," and better yet, the killer riff and memorable tune of my personal favorite, "Refused Are F***ing Dead." Later in the album there's even a bit of orchestral instruments, which is interesting to hear in this sort of album. It is musically interesting, and I wonder what took me so long to get this.

This chimerical bombination is something I confidentally call a favorite of mine, even though I haven't even owned it that long. It inspired me recently to buy "The EP Compilation" which I saw at a store (!) and I loved that one, too. I may even try out some (International) Noise Conspiracy. This is an album in which the greatness is the least questionable thing.