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Visual artists played a large role in the no wave scene, as visual artists often were playing in bands, or making videos and films, while making visual art for exhibition. An early influence on this aspect of the scene was Alan Vega (aka Alan Suicide) whose electronic junk sculpture predated his role in the music group Suicide, which he formed ...
Thus the post-punk band members were very much interested in visual and conceptual art and thus they didn’t have much musical training. Something typical of no wave music bands, in general. [3] They were more interested in making conceptual noise music with a beat, than traditional new wave music. For example, Taro Suzuki played the piano ...
DNA was an American no wave band formed in 1977 by guitarist Arto Lindsay and keyboardist Robin Crutchfield, and later joined by drummer Ikue Mori and bassist Tim Wright.They were associated with the late 1970s New York no wave scene, and were featured on the 1978 compilation No New York.
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Ut was an American band which originated from New York City's no wave scene, forming in December 1978. The inheritors of the fertile collision between rock, free jazz, and the avant-garde that first manifested itself in the Velvet Underground, Ut soon became a serious force within the New York music scene.
Tritonian Nash-Vegas Polyester Complex is the third studio album by American no wave band No Trend, released in 1986 through Touch and Go Records.The album continues the experimental path the band created with their previous record, A Dozen Dead Roses.
The cover of Robert Palmer's "Addicted to Love" was recorded by Gordon in a Karaoke booth; Gordon made the song's video at a make-your-own-video booth at Macy's. [4] Sonic Youth originally wanted to release the album simultaneously with Daydream Nation but were convinced to release the latter several months later by associates of the band. [4]
Chance wrote a piece for the first issue of East Village Eye, praising disco and denouncing "outdated, cornball 'new/no wave' drivel". [6] [8] Off White includes contributions from Lydia Lunch, Robert Quine, and Vivienne Dick. [9] The band spent most of their budget recording the album's first side and used instrumentals for the second side. [10]