REFUSED did not want to be canonized or mythologized. So they stated in their farewell missive, upon initially dissolving in 1998 at the peak of their potency. Expressing disgust with the increasingly capitalistic music industry, the group—celebrated for blowing the lid off whatever punk was supposed to be—declared they were abandoning it.
They formed amid a creatively fertile late-’80s/early-’90s scene in the Swedish university city of Umeå, and the band coalesced within the then-prevalent parameters of classic hardcore. But Refused turned the scene on its head through a series of dizzying releases, culminating in the now-legendary The Shape of Punk to Come.
The title is a nod to a seminal jazz album, and the music is an unflinching, meticulous meditation on the possibilities of popular music. Its politically and philosophically charged songs incorporate elements of jazz, techno, classical, and folk music by way of instruments that range from synths to strings, demonstrating punk as an approach and process rather than a static, defined genre. Refused mirrored this innovation in live performance, exhibiting more energy than seemed feasible from five human beings—particularly frontman Dennis Lyxzén, who gyrated and agitated onstage as a playful, fierce, and joyous musical conduit.
Since the band famously refuses to be interviewed, we’re left to speculate on their reasons for reuniting. The prolific online postings of Lyxzén—who has stayed terrifically active in underground music, as a performer and as proprietor of the Ny Våg record label—provide some clues. He expresses gratitude for the continuing support for Refused, but also gently suggests that fans listen to his new output, and encourages followers to make music and art of their own.
In the years since pronouncing their own death sentence, Lyxzén & Co. witnessed the mythmaking of their music as well as punk itself. Perhaps they realized the way to destroy myths is not to bow out, but to press on. And although their music is inevitably revered, their most enduring legacy is the relentless creativity they spurred and the boundaries they destroyed—showing that doing so is the true way to keep punk alive.
Even though i’m somewhat familiar with HC, i honestly have NEVER heard of this band until i stared seeing ads for their show some weeks ago. So i went to youtube to check ’em out.
Pretty rad HC, i have to say. But fucking seriously $40 to see these guys?!?! And they supposedly disbanded over how greedy the music industry had gotten? Man, fuck these hypocrites!!!
I saw DOOM last year at Branx – political Crust Punk band from England – been around since early 1980’s and many MANY times more legendary than the Refused! That DOOM show was $12!
There’s also a Grindcore band from Sweden called Regurgitate that can easily stomp the Refused into pulp!
I chose not to discuss the ticket prices or surrounding controversy in this article at all. The band doesn’t have much/any control over what the promoters choose to charge for this show. Their music means a lot to a lot of people (myself included) and I don’t think the ticket price and consequent outrage is the most interesting thing to write about. But sorry you’re so upset Jake.
Yeah, last time i paid $40 for a concert, it was Slayer. That was just over 8 years ago. No wait… actually that show was $36 post sur-charge.
Quit being such babies. Go or don’t go. The idea that musicians and bands should not be paid for years and years of hard work is ridiculous. Selling out is having to work at a Starbucks for the rest of your life simply because you don’t want to lose your ‘street cred.’ Other countries support their artists financially, but here we believe artists and musicians have an obligation to entertain us for free. America has made us cultural slaves. No one here is laughing on the way to the bank, because we ain’t got shit in it.
Get a grip, Tilner – noone here has said that Musicians should not be paid for their hard work or that anyone should work for free and you damn well know it. However, fleecing fans for maximum profit and milking a [supposed] legacy – especially when you supposedly left the music industry over how “greedy” it had gotten – is very un-becoming of any artist.
Up-coming shows from Fishbone, Anthrax, and D.R.I. are all way cheaper and all these bands are many times greater than the Refused! So yeah, fuck these greedy Sweds if they think they’re worth more than an Anthrax/Testament bill! And fuck all the designer “punks” who’d actually pay $40 to see ’em!
^Sweden is a lot farther away than so cal. Then there is equipment that needs to find its way here. That shit adds up quick.
I’d still not go….
If THAT were the case, then EVERY band who tours here from abroad would be doing $40+ shows. I just saw a band at Plan B called The Spiritual Bat. They’re from Italy. That show was $6.
That’s NOT the case for ALL bands. Some bands just show up with a guitar(s) and drum sticks. Others have a PA and techs etc.
YOU obviously don’t know jack shit about nothing.
You’re right No Shit Nathan. I DON’T know jack shit about NOTHING. I DO however, know alot about alot. Obviously, that’s alot more than YOU know.
And you’re pretty much feeding right into my point – they’re a HC band! How much shit do they need when touring?! I’ve seen bands from over-seas that have had alot of stage gear, equipment, seasoned tour crews, props, etc. and their shows didn’t cost $40!
Bottom line is, The Refused are FUCKING GREEDY!
If you’re so bent out of shape about spending $40 for an evening’s entertainment, I’d say you’ve got a little greed going on as well.
Closing comments on this one now, because WE ALL GET IT.