Editing Anarcho-punk (section)

== Musical style and aesthetics ==
Anarcho-punk bands are often less focused on particular musical delivery and more focused on a totalised aesthetic that encompasses the entire creative process, from album and concert art, to political message, and to the lifestyles of the band members.<ref name="allmusic">[{{AllMusic|class=explore|id=style/d11374|pure_url=yes}} allmusic<!-- Bot generated title -->] quotation: {{quotation|...its ideology of personal freedom (musical self-expression ought to be available to anyone, regardless of technical ability), and also that the message tended to be more important than the music.}}</ref> Crass listed as band members the people who did their album art and live visuals. The message is considered to be more important than the music.<ref name="berger" /><ref name="allmusic"/> According to the punk aesthetic, one can express oneself and produce moving and serious works with limited means and technical ability.<ref name="allmusic"/><ref name="Byrne2010">[[David Byrne]], Jeremy Deller (2010) [http://www.davidbyrne.com/news/press/articles/modernpainters_2010.php ''Audio Games''], in ''[[Modern Painters (magazine)|Modern Painters]]'', 1 March 2010 quotation: {{quotation|I think I embrace a bit of the punk aesthetic that one can express oneself with two chords if that's all you know, and likewise one can make a great film with limited means or skills or clothes or furniture. It's just as moving and serious as works that employ great skill and craft sometimes. Granted, when you learn that third chord, or more, you don't have to continue making "simple" things, unless you want to. Sometimes that's a problem.}}</ref> It is not uncommon for anarcho-punk songs to lack the usual rock structure of verses and a chorus, however, there are exceptions to this. For example, later [[Chumbawamba]] songs were at the same time anarcho-punk and pop-oriented.<ref>{{cite magazine |first=Aaron Lake |last=Smith |title=Chumbawamba's Long Voyage |date=June 2012 |url=https://www.jacobinmag.com/2012/07/chumbawambas-long-voyage/ |magazine=[[Jacobin (magazine)|Jacobin]]}}</ref>

Bands such as Crass, Conflict, [[Nausea (band)|Nausea]] and Chumbawamba make use of both male and female vocalists.<ref name="Larkin80">{{cite book |title=[[Encyclopedia of Popular Music |The Virgin Encyclopedia of Eighties Music]] |editor=Colin Larkin |editor-link=Colin Larkin (writer) |publisher=[[Virgin Books]] |date=2003|edition=Third |isbn=1-85227-969-9 |pages=124/5}}</ref><ref>{{cite web |last1=Griffin |first1=Joh |title=Nausea Biography by John Griffin |url=https://www.allmusic.com/artist/nausea-mn0000318559/biography |website=[[AllMusic]] |access-date=16 April 2020}}</ref><ref name="The City Talking" /><ref>Rimbaud, P; "...EXIT – 'The Mystic Trumpeter, Live at the Roundhouse 1972'" accompanying booklet, Exitstencil Recordings 2013</ref>

Not all anarcho-aesthetics were reductive or simplistic though. George McKay had written of the idea of 'Crassonics', the  ''sounds'' that the band Crass used or made in the recording studio to represent the nuclear sublime. These 'incorporated sounds of destruction, alienation, and accusation, in a righteous and relentless assault on the new nuclear norm.... [L]istenability and expressibility seemed polar opposites: to express nuclear horror in music ... one had to interrogate the limits of what one would be willing to listen to.'<ref>McKay, G. 2019. [https://www.researchgate.net/publication/336258827_They've_Got_a_Bomb_Sounding_Anti-nuclearism_in_the_Anarcho-punk_Movement_in_Britain_1978-84#fullTextFileContent '"They've got a bomb": sounding anti-nuclearism in the anarcho-punk movement, 1978=84.'] ''Rock Music Studies'' (6)2: 1-20.</ref>