| Summary: | Best known for short songs and even shorter life-spans, No Wave bands fused disparate styles to fashion abrasive, rhythmic songs that were completely original and utterly compelling. The primary perpetrators--Lydia Lunch's howling Teenage Jesus and the Jerks, James Chance's skeletal Contortions, the dark-noise groups Mars and DNA--all drew on primitivism, performance art, and the avant-garde. The book also delves into No Wave cinema, where pioneers like Amos Poe, Eric Mitchell, and Beth and Scott B. translated the aggression and innovation of No Wave music to the screen.
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