{"id":144,"date":"2025-10-13T18:16:10","date_gmt":"2025-10-13T16:16:10","guid":{"rendered":"https:\/\/husbands-paris.com\/en\/?p=144"},"modified":"2025-10-13T18:16:10","modified_gmt":"2025-10-13T16:16:10","slug":"sheffield-sound-and-style-to-fill-the-vacuum","status":"publish","type":"post","link":"https:\/\/wpadmin.husbands-paris.com\/en\/journal\/sheffield-sound-and-style-to-fill-the-vacuum\/","title":{"rendered":"SHEFFIELD: SOUND AND STYLE TO FILL THE VACCUM"},"content":{"rendered":"\n
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Sheffield is a city of seven hills \u2013 rural, bleak and bursting with wavelengths of sound.<\/p>\n\n\n\n

It cracked the codes of Northern post-punk but it purveyed more: blues, synth-pop, electronica, industrial, dance, techno, indie rock, baroque pop. The style in the city transitioned with the sound.<\/p>\n\n\n\n

An integral timeline, in order of formation:<\/p>\n\n\n\n

1963: DAVE BERRY<\/strong>. <\/h2>\n\n\n\n

Sound:<\/em> a basis of pop ballads injected with doses of the blues. Style:<\/em> slim-fit mod blazers, knitted ties, continental collared shirts. Way before Goodfellas.<\/p>\n\n\n\n

1973 : CABARET VOLTAIRE<\/strong>. <\/h2>\n\n\n\n

Sound:<\/em>experimental electronica, a pioneer for British industrial music. Style:<\/em>English counterparts to Kraftwerk. Sharp black shirts. Bright white ties.<\/p>\n\n\n\n

1977: THE HUMAN LEAGUE<\/strong>. <\/h2>\n\n\n\n

Sound:<\/em> a masterful merge of synthesisers and pop melodies \u2013 later entering Heaven 17. Style:<\/em> streamlined silhouettes. Zero colour. Avant-garde eyeliner.<\/p>\n\n\n\n

1978: ARTERY<\/strong>. <\/h2>\n\n\n\n

Sound:<\/em> artsy post-punk driven by infectious bass lines. Style:<\/em> lambswool v-necks loosely tucked into straight black jeans. Motorcycle jackets on top. Motorcycle jackets on top.<\/p>\n\n\n\n

1978: PULP<\/strong>. <\/h2>\n\n\n\n

Sound:<\/em>disco-influenced pop-rock lyricised by kitchen sink realism. Style:<\/em>spindly spectacles, velvet suits, striped shirts, leather boots. Courtesy of Jarvis Cocker: a modern dandy.<\/p>\n\n\n\n

1980: CLOCK DVA<\/strong>. <\/h2>\n\n\n\n

Sound:<\/em> abrasive technological noise in praise of Anthony Burgess. Style:<\/em> concealed by graphics, single-breasted blazers and leather footwear. A sartorial cul-de-sac.<\/p>\n\n\n\n

1980: ABC<\/strong>. <\/h2>\n\n\n\n

Sound:<\/em>catchy compositions that turned glam rock into dance-pop. Style:<\/em>classic tailored bases complete with contemporary blazers. Often jacquard \u2013 a symbol of the 80s.<\/p>\n\n\n\n

2006: ARCTIC MONKEYS.<\/strong> <\/h2>\n\n\n\n

Sound:<\/em>indie rock dipped in modernised sensibilities of Pulp.Style:<\/em> worn-in pumps, washed jeans, polo shirts, Fred Perry cardigans, zip-up parkas. Sometimes a pea coat. Confidently British.<\/p>\n\n\n\n

2008: THE LAST SHADOW PUPPETS<\/strong>. <\/h2>\n\n\n\n

Sound:<\/em> Scott Walker meets David Bowie in a half Sheffield, half Liverpool hatch of baroque pop. Style:<\/em> skinny suits, black boots, open shirts. Outrageously classic.<\/p>\n\n\n\n

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LATEST<\/a><\/div>\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n
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<\/span>\"1-Sheffield-en-1981-par-John-Davies\"
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DAVIES, John, phot. Sheffield, United Kingdom. 1981. <\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"2-Clock-DVA-par-Pete-Hillin-Sheffield\"
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HILLIN, Pete, phot. CLOCK DVA. Sheffield, United Kingdom. 1979. <\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"different
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PULP. Different Class. 1995. <\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"4-Arctic-Monkeys-par-Dean-Chalkley-devant-The-Boardwalk-Sheffield-2005\"
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CHALKLEY, Dean, pho. ARCTIC MONKEYS. The Boardwalk, Sheffield, United Kingdom. 2005. <\/p>\n<\/div><\/div>\n\n\n\n

<\/span>\"5-Jarvis-Cocker-1983\"
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COCKER, Jarvis. 1983. <\/p>\n<\/div><\/div>\n\n\n\n

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<\/span>\"\"
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THE LAST SHADOW PUPPETS. The Age of the Understatement. 2008. <\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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<\/span>\"\n6.B-Whatever-people-say-I-am-thats-what-Im-not-par-Arctic-Monkeys-2006.jpg\"
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 ARCTIC MONKEYS. Whatever People Say I Am, That’s What I’m Not. 2006. <\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n