When you think of punk, a few things are bound to come to mind: mohawks and combat boots, social unrest and anarchy in the U.K., the aggression of disillusioned youth. But you probably thought of the music first, with its overdriven guitars, politically charged lyrics, mosh pits, clear deviations from the mainstream. Punk may be a mere shadow of its former self now, but its spirit remains a musical one. The same is true for its children or at least most of them.1
Cyberpunk and steampunk are unusual exceptions. They are the product of punk’s intrusion into literature, carrying on the legacy of counter-culture and alternative thought. Unlike punk, however, neither included a musical renaissance in the original package. For steampunk in particular, the music only began to emerge in 2003, and in the ensuing eight years there has been an explosion of endeavors by experienced musicians and right-minded amateurs alike. The bands span almost every idea under the sun, from orchestrated tales of terrible machines and laments of deceased technologies to gentleman’s rap battles and clockwork love stories.2
It would seem that a steampunk genre is in the making, but don’t rush to conclusions yet.