Welcome to another broadcast by Rádio Sino Tropical.

Today we are going to walk through the melancholic, poetic and dark territory of post punk. Bubbling in the same cauldrons, blood brothers, what distinguishes punk from post punk is the focal point of the proposed criticism.

While punk, the firstborn, criticises in attitude and sonority to counter punctuate the virtuosity and symbolism of rock n 'roll, father of the two, the post punk criticises and punctuates punk itself.

Arming themselves with the same non-commercial attitude as punk but with much broader and distant influences from rock. If punk can be considered visceral and spontaneous, post punk is intentional and measured.

Most of the post punk bands that flourished in Brazil at the time, were relegated to the underground and many of them did not even record albums, others recorded an album and broke up, and few constituted a distant career.

And in China, as we mentioned in the previous episode, about punk things really started to take shape in the alternative scene in the late 90's, and the post punk consolidating itself in fact as a present force, much more present than in Brazil say in passing, in the early 2000s. The post punk nailed the melancholy and introspective Chinese predisposition.


On the Brazilian side, we have:

The pioneers and forever fried, BLACK FUTURE;

Underground occultists and witches, RAKTA;

And the supreme juice of the post-national punk cliche, LEGIÃO URBANA;


From the Chinese side:

The Chinese television + talking head, PK14;

The super hype of Chinese post-punk cream RE-TROS;

And the post-punk without frills but loaded with anguish from LONELY LEARY;

Reference articles for the research:

Brazil:

"TOP 20: THE BEST BRAZILIAN POST-PUNK ALBUMS" by Marco Antonio Barbosa

China:

"The Fresh, Inventive Sounds of Contemporary Chinese Post-Punk" by Collin Smith & Josh Feola

"Yang Haisong Is Producing a New Generation of Underground Chinese Rock" by Josh Feola

Next episode: Psicodelia

Stay tuned!