Editing Punk rock (section)

===Post-punk===
{{Main|Post-punk}}
[[File:Nick Cave 1986.jpg|thumb|upright|[[Nick Cave]] performing in 1986]]
During 1976–1977, in the midst of the original UK punk movement, bands emerged such as Manchester's [[Joy Division]], [[The Fall (band)|the Fall]], and [[Magazine (band)|Magazine]], Leeds' [[Gang of Four (band)|Gang of Four]], and London's [[the Raincoats]] that became central post-punk figures. Some bands classified as post-punk, such as [[Throbbing Gristle]] and [[Cabaret Voltaire (band)|Cabaret Voltaire]], had been active well before the punk scene coalesced;<ref>Reynolds (2005), p. xxi.</ref> others, such as [[Siouxsie and the Banshees]] and [[the Slits]], transitioned from punk rock into post-punk. A few months after the Sex Pistols' breakup, [[John Lydon]] (no longer "Rotten") cofounded [[Public Image Ltd]]. [[Lora Logic]], formerly of X-Ray Spex, founded [[Essential Logic]]. [[Killing Joke]] formed in 1979. These bands were often musically experimental; the term "post-punk" is used to describe sounds that were more dark and abrasive—sometimes verging on the [[atonality|atonal]], as with Subway Sect and Wire. The bands incorporated a range of influences ranging from [[Syd Barrett]], [[Captain Beefheart]], [[David Bowie]] to [[Roxy Music]] to [[Krautrock]].

Post-punk brought together a new fraternity of musicians, journalists, managers, and entrepreneurs; the latter, notably [[Geoff Travis]] of [[Rough Trade Records|Rough Trade]] and [[Tony Wilson]] of [[Factory Records|Factory]], helped to develop the production and distribution infrastructure of the [[independent music|indie music]] scene that blossomed in the mid-1980s.<ref>Reynolds (2005), pp. xxvii, xxix.</ref> Smoothing the edges of their style in the direction of new wave, several post-punk bands such as [[New Order (band)|New Order]] and [[the Cure]] crossed over to a mainstream U.S. audience. Others, like Gang of Four, the Raincoats, and Throbbing Gristle, who had little more than cult followings at the time, are seen in retrospect as significant influences on modern popular culture.<ref>Reynolds (2005), p. xxix.</ref>

Television's debut album ''[[Marquee Moon]]'', released in 1977, is frequently cited as a seminal album in the field.<ref>See, e.g., {{cite web |url-status=dead |url=http://www.rhapsody.com/television/more.html |title=Television |archive-url=https://web.archive.org/web/20071110005347/http://www.rhapsody.com/television/more.html |archive-date=November 10, 2007 |first1=Mike |last1=McGuirk |website=[[Rhapsody (online music service)|Rhapsody]] |postscript=;}} "[{{AllMusic|class=album|id=r19770|pure_url=yes}} Marquee Moon Review]" by Stephen Thomas Erlewine, AllMusic; {{cite web |url-status=dead |url=http://www.popmatters.com/music/reviews/t/television-marquee2003.shtml |title=Television: Marquee Moon (remastered edition) |archive-url=https://web.archive.org/web/20061212122416/http://www.popmatters.com/music/reviews/t/television-marquee2003.shtml |archive-date=December 12, 2006 |first1= Hunter |last1=Felt |website=[[PopMatters]]}} All retrieved January 15, 2007.</ref> The [[no wave]] movement that developed in New York in the late 1970s, with artists such as [[Lydia Lunch]] and [[James Chance]], is often treated as the phenomenon's U.S. parallel.<ref>Buckley (2003), p. 13; Reynolds (2005), pp. 1–2.</ref> The later work of Ohio protopunk pioneers [[Pere Ubu]] is also commonly described as post-punk.<ref>See. e.g., Reynolds (1999), p. 336; Savage (2002), p. 487.</ref> One of the most influential American post-punk bands was Boston's [[Mission of Burma]], who brought abrupt rhythmic shifts derived from hardcore into a highly experimental musical context.<ref>Harrington (2002), p. 388.</ref> In 1980, the Boys Next Door moved from [[Melbourne]], Australia to London and changed their name to [[The Birthday Party (band)|the Birthday Party]], which evolved into [[Nick Cave and the Bad Seeds]]. Melbourne's [[Little band scene]] further explored the possibilities of post-punk and gave rise to acts such as [[Dead Can Dance]].<ref>{{cite book |last=Delaney |first=Cornelius |date=2020 |title=Urban Australia and Post-Punk: Exploring Dogs in Space |chapter=We're the Most Fabulous People Australia Has Ever Known |location= |publisher=Springer Nature Singapore |pages=73–80 |isbn=}}</ref><ref>Potts, Adrian (May 2008), [https://archive.today/20120919123354/http://www.viceland.com/int/v15n5/htdocs/big-and-ugly-109.php "Big and Ugly"], ''Vice''. Retrieved on December 11, 2010.</ref> The original post-punk bands were highly influential on 1990s and 2000s [[alternative rock]] musicians.<ref>See Thompson (2000), p. viii.</ref>