Editing Rock music (section)

===Post-punk===
{{Main|Post-punk}}
{{See also|Gothic rock|Industrial music}}
[[File:U2 on Joshua Tree Tour 2017 Brussels 8-1-17.jpg|thumb|left|alt=A color photograph of members of the band U2 performing on stage|[[U2]] performing on [[The Joshua Tree Tours 2017 and 2019|The Joshua Tree Tour]] in [[Brussels]] in August 2017]]
If hardcore most directly pursued the stripped down aesthetic of punk, and new wave came to represent its commercial wing, post-punk emerged in the late 1970s and early 1980s as its more artistic and challenging side. In addition to punk bands, major influences included [[the Velvet Underground]], [[Frank Zappa]], [[Captain Beefheart]], and the New York-based [[no wave]] scene, including [[James Chance and the Contortions]], [[DNA (American band)|DNA]], and [[Sonic Youth]].<ref name="Bogdanov2002PostPunk">S.T. Erlewine, "Post Punk", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp. 1337–8.</ref> Early contributors to the genre included U.S. bands [[Pere Ubu]], [[Devo]], [[the Residents]], and [[Talking Heads]].<ref name="Bogdanov2002PostPunk"/>

The first wave of British post-punk included [[Gang of Four (band)|Gang of Four]], [[Siouxsie and the Banshees]] and [[Joy Division]], who placed less emphasis on art than their US counterparts and more on the dark emotional qualities of their music.<ref name="Bogdanov2002PostPunk"/> Bands like Siouxsie and the Banshees, [[Bauhaus (band)|Bauhaus]], [[the Cure]], and [[the Sisters of Mercy]], moved increasingly in this direction to found Gothic rock, which had become the basis of a major [[sub-culture]] by the early 1980s.<ref>{{harvnb|Goodlad|Bibby|2007|p=239}}</ref> Similar emotional territory was pursued by Australian acts like [[The Birthday Party (band)|the Birthday Party]] and [[Nick Cave]].<ref name="Bogdanov2002PostPunk"/> Members of Bauhaus and Joy Division explored new stylistic territory as [[Love and Rockets (band)|Love and Rockets]] and [[New Order (band)|New Order]] respectively.<ref name="Bogdanov2002PostPunk"/> Another early post-punk movement was the industrial music<ref>C. Gere, ''Digital Culture'' (London: Reaktion Books, 2002), {{ISBN|1-86189-143-1}}, p. 172.</ref> developed by British bands [[Throbbing Gristle]] and [[Cabaret Voltaire (band)|Cabaret Voltaire]], and New York-based [[Suicide (band)|Suicide]], using a variety of electronic and sampling techniques that emulated the sound of industrial production and which would develop into a variety of forms of [[post-industrial music]] in the 1980s.<ref>{{Citation|title=Industrial rock |work=AllMusic |url=http://www.allmusic.com/explore/essay/industrial-rock-t1588 |archive-url=https://web.archive.org/web/20110101160132/http://www.allmusic.com/explore/essay/industrial-rock-t1588 |archive-date=1 January 2011 |url-status=dead}}</ref>

The second generation of British post-punk bands that broke through in the early 1980s, including [[The Fall (band)|the Fall]], [[the Pop Group]], [[the Mekons]], [[Echo and the Bunnymen]] and the [[Teardrop Explodes]], tended to move away from dark sonic landscapes.<ref name="Bogdanov2002PostPunk"/> Arguably the most successful band to emerge from post-punk was Ireland's [[U2]], who incorporated elements of religious imagery together with political commentary into their often anthemic music, and by the late 1980s had become one of the biggest bands in the world.<ref>F.W. Hoffmann and H. Ferstler, ''Encyclopedia of Recorded Sound, Volume 1'' (New York: CRC Press, 2nd edn., 2004), {{ISBN|0-415-93835-X}}, p. 1135.</ref> Although many post-punk bands continued to record and perform, it declined as a movement in the mid-1980s as acts disbanded or moved off to explore other musical areas, but it has continued to influence the development of rock music and has been seen as a major element in the creation of the alternative rock movement.<ref>D. Hesmondhaigh, "Indie: the institutional political and aesthetics of a popular music genre" in ''Cultural Studies'', 13 (2002), p. 46.</ref>