Cover of Refused The Shape Of Punk To Come
giuseppe 83

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For fans of refused, enthusiasts of punk rock and its evolution, readers interested in music critique and punk genre history
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THE REVIEW

This album has its good moments but in my opinion it is not the great revolutionary-avant-garde masterpiece that many claim.

My impression is that in a genre that has remained the same for centuries to the point of exhaustion, even a small "strange" thing is enough to be considered a genius (yes, I know it was '98 but that doesn't change things, '98 isn't centuries ago in musical terms). The idea I get is that the eccentricities are also too ostentatious and their unpredictability is ultimately predictable, too calculated.

After them, the only change in the scene was in the look. Don't get me wrong, some tracks rock, there's no doubt about it, but it seems excessive to me to cry miracle like I've seen many do.

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Summary by Bot

This review offers a balanced critique of Refused's The Shape Of Punk To Come, challenging its status as a groundbreaking punk album. While some tracks are praised, the overall unpredictability is seen as calculated and the album's impact on the genre is questioned.

Tracklist Lyrics Videos

01   Worms of the Senses / Faculties of the Skull (07:07)

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02   Liberation Frequency (04:08)

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03   The Deadly Rhythm (03:36)

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04   Summerholidays vs. Punkroutine (04:03)

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05   Bruitist Pome #5 (01:27)

07   The Refused Party Program (02:40)

08   Protest Song '68 (04:34)

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09   Refused Are Fuckin Dead (05:10)

10   The Shape of Punk to Come (05:08)

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11   Tannhäuser / Derivè (08:09)

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12   The Apollo Programme Was a Hoax (04:16)

Refused

Refused are a Swedish hardcore punk band from Umeå, formed in 1991. Best known for The Shape of Punk to Come (1998), they split in 1998 and reunited in 2012, later releasing Freedom (2015) and War Music (2019).
05 Reviews

Other reviews

By stargazer

 This album, the last of their career, released in 1998, is undoubtedly their masterpiece.

 "New Noise"... is the masterpiece of the album, presenting many sections in typical hardcore style, contrasted with sampled loops and electronic violins.