REFUSED — The Shape of Punk to Come: A Chimerical Bombination in 12 Bursts

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REFUSED - The Shape of Punk to Come: A Chimerical Bombination in 12 Bursts cover
3.59 | 13 ratings | 1 review
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Album · 1998

Filed under Hardcore Punk
By REFUSED

Tracklist


1. Worms Of The Senses/Faculties Of The Skull (07:05)
2. Liberation Frequency (04:09)
3. The Deadly Rhythm (03:35)
4. Summerholidays Vs Punkroutine (04:02)
5. Bruitist Pome #5 (01:26)
6. New Noise (05:09)
7. The Refused Party Program (02:39)
8. Protest Song '68 (04:33)
9. Refused Are Fucking Dead (05:09)
10. The Shape of Punk to Come (05:07)
11. Tannhauser/Derrive (08:07)
12. The Apollo Programme Was a Hoax (04:13)

Total Time 55:14


CD2 - Live At Umea Open 1998 (A Chimerical Live Bombination In 12 Bursts)

1. The Shape Of Punk To Come
2. The Refused Party Program
3. Circle Pit
4. Worm Of The Senses/Faculties Of The Skull
5. Hook, Line And Sinker
6. Summerholiday Vs Punkroutine
7. Rather Be Dead
8. Burn It
9. The Deadly Rhythm
10. Coup D'Etat
11. New Noise
12. Tannhauser


DVD - Refused Are Fucking Dead

1. Refused Are Fucking Dead

Line-up/Musicians


- Dennis Lyxzén / vocals
- Kristofer Steen / guitar, bass guitar
- Jon Brännström / guitar
- David Sandström / drums
- Magnus Björklund / bass guitar

About this release

Released 27th October 1998 on Burning Heart Records.

2CD/DVD and 2LP/DVD deluxe edition issued 8th June 2010 on Epitaph ‎(86981-2).

Thanks to Time Signature for the addition and Bosh66 for the updates

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REFUSED THE SHAPE OF PUNK TO COME: A CHIMERICAL BOMBINATION IN 12 BURSTS reviews

Specialists/collaborators reviews

Warthur
Wild and extremely 1990s post-hardcore with the occasional acoustic or electronic moment or snippet of spoken word poetry slipped in here and there to keep things hopping. Refused aren't Fuckin' Dead on here (though they would Fuckin' Die soon after its release) - nothing dead has the level of energy which drips out of your speakers when this is on, nor do the dead have as sharp a sense of humour as is evidenced by the cover and its dead-on parody of late-1950s jazz album covers. Still, at the same time part of me wonders whether this album's legendary reputation hinges on it being Refused's swansong (at the time, at least), what with its occasional tendency to ramble.

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